Digital Twinning in the Metaverse

April 13th 1970: The Apollo 13 spacecraft is 220,000 kilometres from Earth when an explosion rocks the crew and tears off one of the two oxygen tanks from the spacecraft. The blast destroyed one side of the transport, not only removing the oxygen supply from the crew but also water and some electrical systems. This disaster echoed across the world as astronaut Jack Swigert radioed to NASA control, “Houston, we’ve had a problem here.”

NASA capsule

From that moment, engineers and scientists at NASA rushed to put their heads together to find a solution to Apollo’s problem. The engineers needed to solve the issue using what the Apollo crew would have to hand, but crucially, without physically seeing the damage firsthand. In the end, the fix was simple; NASA instructed the crew to use cardboard, plastic bags and tape to patch up the craft enough to get them home.

There’s not much NASA could have done at the time to foresee the issue; building several spacecraft to stress test every possible outcome would have burned through budgets swiftly. When the Apollo 13 disaster occurred, NASA engineers could no longer rely on their original designs, as the craft had failed due to an unforeseen hostile environment. The crew in Houston needed a model on Earth that directly mirrored the craft in space.

The Digital Twin

In 2002, NASA coined the term ‘digital twin’, though the original concept is a little older. A digital twin can be described as ‘a digital copy of a physical object: mechanism, building or concept based in reality’. For example, a car manufacturer may create a digital twin of their main assembly plant and use it to implement new safety protocols or install new machinery, by first trying it within a digital safe zone.

Healthcare professionals can use digital twinning to simulate rare illnesses and practice care first hand – albeit digitally – and learn the correct techniques. Planning departments in government can replicate dense population areas of cities to see how new infrastructure will impact the city and society. Environmentalists are simulating extremes of climate change on digital twins based on rainforests and oceans.

A digital twin is a living model of something physical, which, to metaverse aspirers will sound familiar. Digital twins are becoming much more popular and with the advent of more immersive technology – Augmented Reality (AR) and Virtual Reality (VR) – the concept of digital twinning is becoming more mainstream. Not only that, but it points to where the metaverse can aid industry and where digital twinning can benefit from creating the metaverse.

The Impact

To fully realise a digital twin of a location or person, sensors can be placed in the physical space to gauge temperature, humidity, footfall traffic, heart rate, etc. This data is then sent to the digital twin to be replicated and be shown in almost real-time within a 3D metaverse-style space.

The opportunities for this technology are vast and far-reaching and while the positives can be seen, there must be a balance in data use. Any sensors and personal data being beamed back and forth to digital twins must be heavily encrypted and safeguarded. Landmarks and buildings would likely contain blueprints and maps on the interiors and any personal data relating to users must be made safe.

The idea of constant monitoring may be off-putting for some, given the decentralised nature of the metaverse. If the metaverse is to be hosted by millions of users across a blockchain network such as Bitcoin or Etherium, it would make the data much harder to hack, given the security of the ledger technology. Whereas a centralised server hosting this information may be more liable to attack.

Metaverse Possibilities.

Where digital twinning can be used within the metaverse is in representing aspects of reality that cannot be accessed by all. When we imagine the metaverse, we often do so by picturing fantastical and grandiose buildings or processes. In theory, the metaverse could host a shopping district where brands might create a neon-soaked, futuristic 3D building to house their products, or they may use a digital twin of their store from London, Milan or New York.

This theory can be applied to famous landmarks and buildings also. You might think to yourself “why would we need a metaverse version of Buckingham Palace or the White House?” There’s a great benefit of being able to step into these 3D realised locations when physical travel isn’t possible due to economic, geographical or even cultural limitations. These buildings and the people who operate within them can be studied in a whole new light.

Ultimately, there are many educational reasons for these landmarks to be created within a VR metaverse; digital visitors can observe and learn about everything from business management to architecture, particularly if these are ‘living, breathing’ twins full of sensor data, which show a wealth of information.

If we look at our above example of a fashion house hosting a storefront in the metaverse, we could see sensors or transaction data change the contents of the metaverse shop’s shelves and rails to reflect the demand in the real-world store.

Of course, this can work in reverse also. Shopping trends within the metaverse can adjust stock levels in the real world store, ordering the most popular products to be stocked in reality; people stopping in front of an exhibit in a metaverse museum may cause curators to move the exhibit in the real world to an area with higher footfall traffic. Metaverse members could even stress test an environment digitally to aid in real-world planning development.

Digital twinning within the fashion sector is already starting to grow with consumers able to purchase digital accessories paired with a physical item; in March 2021 RTFKT facilitated a sale of a pair of NFT sneakers designed by FEWOCiOUS. Potential buyers were able to virtually try on the sneakers using AR technology and the eventual buyer bagged the NFT kicks as well as a pair in reality also.

New Realities

In 2018 Microsoft and Mojang partnered with Great Ormond Street charity to build the famed London hospital within Minecraft. The purpose was to allow children who would become patients to explore the building and become more comfortable with the surroundings before attending an appointment in person. Digital twinning can use more graphically sophisticated software to do similar things, but maybe it’s not a hospital, maybe it’s a wildlife sanctuary for a post-pandemic school field trip or a trip to Cape Canaveral to watch the launch of Apollo 13.

These examples are great on a 2D desktop or TV display, but they become a more immersive experience when using Mixed Reality (MR). Where digital twins are used already, they benefit greatly from the use of AR or VR technology. VR allows for that immersion; walking through the hallowed halls of an ancient castle or exploring a virtual shopping centre due to be built physically in your neighbourhood.

Augmented Reality, on the other hand, still utilises the reality around us, rather than blocking out the natural world. So, to reach back to our previous examples, you might be walking those hallowed halls, but instead, use a tablet or your smartphone to see a digital overlay delivering information or dramatic reenactments. Or, for those in particular industries, such as retail or construction, the 3D shopping centre, constructed from planning permission blueprints can help those to realise a new vision by swiping through digital layers of construction.

Within the metaverse, whole buildings can be constructed and filled with digital twinning tools to fully allow remote training for new jobs or treating rare health problems. And this is all done within a digital environment, meaning fewer financial losses and the full safety of users. In the metaverse, anything can be tried. 

Have you seen the movie Soul, by Pixar? In that film, a potential Earthbound soul tries many different careers and pastimes to find her ‘spark’ or ‘passion’ on which her life will hang. What’s to say we won’t be able to wander the halls of potential careers, try them out and then pursue them? Or learn something new about ourselves which will change our lives for the better?

Life in the Metaverse: Focused Virtual Reading

I sat at my desk, with a Meta Quest 2 headset covering my eyes, looking like a bit of an idiot to my housemate. I’d just finished a work meeting where myself and two other colleagues had attempted to hold our weekly catch up, this time in a virtual space. At one point one of my teammates sat alone at his virtual desk, while we others couldn’t sign into the room. We could only view through our PC browsers.

We tried everything possible, including letting others host the room. There always seemed to be something holding us back and after twenty minutes of trying to connect, we gave up and promised to try different software next time.

Feeling a little deflated that our metaverse jaunt had fallen flat, I kept my headset on. I felt around in front of me for my laptop keyboard. I could physically see it, as I was logged into Horizon Workrooms and I’d paired my MacBook with the software, but I’m a useless touch typist and I couldn’t easily find my way to writing. So instead I decided to use my time for research.

I was sitting in a virtual space – an office that screamed Silicon Valley – and I’d just enlarged my virtual laptop screen to read an article for research. The replication of my MacBook was great, there was little to no delay between my clicking a Google Chrome tab and it happening on my headset. I’d lined up several pieces to read, grabbed my headphones and got started.

‘Outside’ my office the sky was Pixar blue, the neighbouring buildings looked like somewhere everyone travelled on Segways or motorised scooters. My virtual desk was large and free of the junk that clutters my real desk; behind me stood a large whiteboard on which I could cast things, or draw pictures if my team members ever actually got into my online workspace without connection issues.

I turned off notifications, opened my music app and selected an ambient playlist that mimicked the sounds outside a suburban home. I began reading faster than normal, absorbing each detail without my incessant need to re-read. I wasn’t losing focus or being distracted by my phone or a message from the work Discord.

After I’d reached the end of each article I sat back in my chair and looked around the ‘room’. It was such a clean space. Maybe a little sterile. A button in front of me changed the environment, so I selected a log cabin office. It didn’t beat the real world, but it stole me away from my hallway office at home where I have no windows, and transported me a little. 

I’d fully expected this virtual working environment to be jarring or prohibitive in some way. Even the hand tracking that the Quest 2 was doing made life easier. There was no need to use the controllers, I was pinching my fingers together to select options or return to menus. It all felt oddly second nature, and a little Minority Report, minus the dystopia.

It was clear to me that reducing the number of distractions was allowing me more focus in my workday. Then things got a bit silly. I jumped from the Horizon Workrooms, which felt very corporate, over to Immersed. With Immersed, I got a great introduction and tutorial to set up my laptop, and I found myself with a similar setup to Workrooms. Except this time I was on a space station, or in a fantastical glowing world, or a living room which seemed Patrick Bateman’s cup of tea.

The major difference here, which I loved, was the ability to increase the screen size so it emulated a cinema screen. Reading now felt even more comfortable, and somewhat immersive. I reclined slightly in my chair and let the screen almost wrap around my vision, shrinking my visual focus onto just the text. Of course, five minutes later I decided to watch The Batman trailer on YouTube and that was an equally great experience, in my own personal cinema.

I was still doing the same things I’d do for portions of my workday – just reading – but everything which usually surrounds that was blocked out almost completely. If typing was tough for me in workrooms, however, then it was impossible in Immersed. There was no representation of my laptop keyboard and so I began skewing my head to peek out of the gap between my nose and the headset.

I could never fully shift my workaday life to one of these apps, but for concentrated reading, it felt like a wonder. I have an unfortunate quirk with my OCD (Obsessional Compulsive Disorder) which forces me to re-read sentences repeatedly and now that was gone. Not only that, but I retained the information after closing down my laptop and removing the headset.

I’m still a way from sitting in a virtual office with my colleagues, but I think I’d even be happy with that; being able to collaborate in real-time with those who live across the world, or simply look up and ask a question, breaking away from my work-from-home lifestyle. But even if those things never happen, I’m happy that I’ve found a new way to focus on the white papers and articles which build out my day.

Blockchain Gaming 101: Blankos Block Party

If there is one blockchain game that is seemingly doing everything right, so far, it’s Blankos Block Party. Currently available in early access and free-to-play, this game is solidly focusing on putting gameplay above the blockchain and NFT capabilities, ensuring the developers deliver a game that can be remembered for the right thing.

On the surface the inspirations for Blankos are stark and easy to appreciate; there’s a large dollop of LittleBigPlanet in the mix, as well as a dash of Fortnite and a dusting of the pop culture collectable, Funko Pops. It’s an appealing combination, creating a super casual, yet compelling aesthetic under which a rather addictive game can be found.

While I mention above that the NFT and blockchain concepts come second to gameplay, it’s worth mentioning these early, because yes, each Blanko vinyl is an NFT. These Funko-esque models can be bought and sold on the game’s marketplace. However, aside from some seriously limited early Blankos, few are selling for ludicrous amounts of money, which is encouraging. This points to a community valuing the game rather than the resale and flipping of the assets for profit.

In the same way that Funko Pops create rare and limited editions, there can be a limited number of a particular Blanko available to buy with in-game currency, appealing to the collectors out there. Blankos teams up with established artists to bring unique skin designs to the models, ranging from anthropomorphic animals to trippy astronauts, and these can all be personalised with accessories too.

A nice hook into the NFT concept is the ability to combine different models or use coloured orbs which permanently alter the look of your avatar model. This can be applied and kept, giving you a one-of-a-kind Blanko, or it can be sold on the marketplace.

The important factor is that you don’t have to buy these in order to play!

With so many blockchain games there is a ‘buy-in’ or ‘stake’ required from the player. This is usually funding a number of NFTs which must be purchased in order to actually begin playing the game. For Block Party, this is far from the case. Yes, your first Blanko will be plain-looking, just one colour all over, but you’ll still be able to play. Which is great, because the game itself can be as entertaining as any other multiplayer experience on the market currently.

There are two games bundled into Blankos Block Party at this early stage – lobbies filled with other players who either shoot it out for points or must foot race through obstacles to reach a finish line. There are more game types planned for the future and the community can have a hand in creating them. The shooting could be a little tighter in its controls on a controller, but it’s good enough to have an old fashioned team deathmatch.

The other ‘game’ leans towards being a very light metaverse, in which Blankos can hang out in different environments just chatting with each other or finding collectables scattered throughout, which reward XP. It’s a great place to chill between shooting or running and it’s reminiscent of game worlds from Roblox or Fortnite.  The worlds on display are all wonderfully bubblegum cute, utilising big broad shapes and eye-popping colours.

That XP can be earned in several ways; in-game challenges like bouncing on a trampoline, landing a set number of headshots or collecting lightning bolts throughout the levels. This XP goes towards levelling up your Blanko in order to personalise it more, by choosing a class for it: the Wrecker uses power moves like a ground pound, a Tracer is more agile with spins and dashes and the Tanker can utilise shields and traps.

There is also a Battle Pass which unlocks emotes accessories and customisation options for your Blanko, the downside to this is the current cost, which is around $25. One can only assume this price point is higher due to the nature of the NFTs and possible fees on the blockchain.

I’ve tried so many blockchain games (seriously, there are a lot and you’ll hear about many of them soon) and a lot of them fail to capture an audience because the gameplay always seems to come second to the technology. Gaming has already gone through this with other emerging tech – virtual reality, touchscreen integration and motion controls. With these opportunities, developers tried to capitalise on the tech before having a game in place to use them. This always resulted in awful games.

Blankos Block Party is seemingly establishing itself as a ‘game, with blockchain additions’, rather than a ‘blockchain game’. If they keep the gameplay fresh and add in a bunch of new game types, perhaps even branch out onto consoles, then this could be a title that showcases how NFTs can be smartly used, rather than appear as a cash-grab.

What is an NFT?

As we move closer to embracing Web3, there are more and more terms for new technologies emerging. Getting to grips with a new technology or phrase can be daunting. Perhaps you’re one of the millions of people who began to hear the term ‘NFT’ in 2020-21 and thought, “what the heck is an NFT?” Or maybe you know a little but would like to learn more. We’ve got the basics covered!

Fungible ?

What does the word ‘fungible’ actually mean? Fungible is “an item which is replaceable by another identical item; [an item which is] mutually interchangeable” Let’s use clothes shopping to illustrate this meaning. 

We love a particular pair of sneakers, we can order these from an online retailer or buy them from a physical store. When we buy them, the retailer can pick any box and sell them to us. It doesn’t matter which pair they pick off the shelf as they’re exactly the same. Once they’ve been worn, and worn out, we can buy another identical pair. We could even stockpile them because we love them so much; there are thousands of pairs in the world, after all. 

So, fungible = replaceable.

Shopping
Photo by © Odua Images – Shutterstock.com

Non-fungible ?

Now to look at the opposite – non-fungible. As you’ve probably guessed, this means something which is irreplaceable. For example, the painting ‘Sunflowers’ by Vincent Van Gogh is irreplaceable – there is only one of these in the entire world. Were this painting to be destroyed, there would be copies of it in existence, but they are not the Van Gogh masterpiece.

So, non-fungible = not replaceable.

Token?

An NFT is a strictly digital item, it only exists digitally, there is no physical version, though it can represent something from the physical world. The NFT is basically a token; an alphanumeric code that tokenises the digital item turning it into something you can own. Imagine it as a signature on a painting, the token represents Van Gogh’s signature declaring the NFT as the original.

The token exists on the blockchain and, via the alphanumeric code signature, it can be tracked and traced via public records to show that you own it. We’ll come back to the blockchain soon.

Right-clicking?

One of the major arguments against NFTs is that the image or gif can be ‘right-clicked’ and saved to a PC or mobile phone. This argument is usually used to show that you can’t ‘own’ the item within the NFT.

Hopefully, you’re old enough to remember film-based cameras because we’re going to use them in this example (if not, it’s time to imagine!):

Before digital cameras became mainstream, film cameras were used by everyone. Once you snapped a photo the image would be stored as a negative on the roll of film. You’d send off the film for printing and receive a package of photos along with the original negatives.

Using that negative, you could feasibly produce hundreds of thousands of copies of a particular image, but only you own the negative – the original source of the image. That photo could be given to everyone in the world, be photocopied, scanned and reprinted infinitely, but the negative is the original and you own it. So, if for example, those millions of copies somehow were destroyed, you’d still have your original negative.

Buying an NFT of a tweet, or a digital Banksy, doesn’t stop others reproducing the image, but the token in the NFT declares to the world that you own the original as bought from the creator, you hold the negative. It’s no different to the physical art world; Sunflowers is hanging in the National Gallery London and it can never be replaced, but the gift shop sells imitation posters to take home. Remember:

Sunflowers = Non-fungible.

Poster of Sunflowers = Fungible.

How does the blockchain work?

For an in-depth look at blockchain technology, please see our accompanying tutorial [we’ll need a link here]. For a fast and dirty explanation, we’ll get into it now.

The blockchain is a huge spinal cord, where each vertebra is a computer. Those computers are owned by people the world over. These computers exist to crunch numbers and verify transactions. When somebody buys something, the computers all talk to each other to establish the buyer has the money and the seller has the product. Once the purchase is complete, it adds a new block to the chain filled with information about the transaction.

Where this differs from a centralised business is in the public records. Every single transaction on the blockchain is open to the public, plus there is no middle man. There is no art gallery to take a cut of the profits. It’s also incredibly difficult, on the largest blockchains, to steal or commit fraud, because if just one computer notices a bad transaction, it won’t create a block and the money will not be transferred.

What can be an NFT?

Pretty much everything. Yes, an NFT can be a computer-generated image of an ape or a kitten; it can also be a music track, a short video or gif, or it can simply store information and data. If it’s digital and, most importantly, original, then it can be an NFT.

Because of this, you’ll have noticed that NFT marketplaces are overflowing with NFTs of varying media and seemingly every major company is looking for a way into the market. It’s also very easy to mint (create) an NFT, meaning a lot of people are hoping to create the next big movement in the space.

Gas fees?

Whenever a transaction is started on a blockchain – it can be any of the blockchains, Ethereum, Bitcoin, Tezos, etc – an amount is paid to the miners who own the computers computing the transaction. Imagine it as tipping your waiter. They didn’t cook the food, but they were an integral part of the chain in bringing it to your table.

Miners usually receive a small fraction of the transaction cost, though this is determined by the cryptocurrency prices. If a crypto is generally expensive to use, then the cost in gas fees will feel more expensive, because it’s a percentage of the crypto price.

In some instances, gas fees can be lower for the buyer. A general rule of thumb is: if you want the transaction to be computed swiftly, the gas fees will be higher, as it will take up more energy to process at speed. Slower transaction checking means lower gas fee totals. In many situations, the gas fees will be proportionately lower than usual middleman fees found in transactions today.

Crypto
Photo by © stockphoto-graf – Shutterstock.com

What are the Upsides?

NFT technology has the potential to completely revolutionise the internet and the way data is stored and transferred. Because anything can be an NFT, the blockchain can store the data forever, and that data can be constantly referred to. The technology can vitally change the sale of goods.

For example, we want to buy a house from our friend. Our friend owns the property – the deed has been digitised and minted as an NFT – and they want 23 crypto for the selling price. We have 23 crypto in our digital wallet and begin the transaction to buy the NFT deed.

Once the blockchain has confirmed that our friend indeed owns the house (digital deed) and we have the 23 crypto, the exchange is done and recorded on the blockchain. Everyone can see we now own the deed to the physical house, our friend has their funds which can be withdrawn or spent and now we can move in. In this example, the agency that would usually deal with this transaction is completely removed. There’s no need to pay fees or fill out reams of paperwork.

NFTs can also open up creator economies, allowing artists, musicians and millions of other creators to sell directly to their audience. They can also be used by governmental bodies to track information in utilities, population, building and traffic data, eliminating email chains, paper backups and miscommunication.

What are the Downsides?

Firstly, NFT technology can be very confusing – hopefully, we’re helping to eliminate this. There’s blockchain, tokens, types of cryptocurrency, wallets, gas fees, minting… the list goes on. Any emerging technology is going to feel initially overwhelming, but with time these processes will become easier to deal with or be streamlined.

Secondly, the NFT market and cryptocurrency generally, can be very volatile. One minute prices are low, the next minute they’re very high. Like the stock market, there will be fluctuations constantly. Buying an NFT isn’t only about whether you like or appreciate the content, it’s also about getting a fair price. Whenever you want to buy an NFT, you must research the artist, the market, the crypto costing, the gas fees, all to ensure you’re getting the best deal.

Lastly, there’s the environmental impact. All those computing decisions and transaction checks use energy and, of course, that energy is normally generated by burning fossil fuels which spew carbon into the atmosphere and impact the Earth via climate change. However, we are at a crossover point – if this technology begins to be used widely, other systems like gold mining and global banking will depend on fossil fuels less, hopefully balancing the usage. 

We also need to remember that as the energy industry changes and embraces cleaner options the environmental impact will decrease. On top of that, some blockchains are using much less energy than others – for example, the Tezos network – or applying a carbon offset into their business.

We can see the yearly approximate energy breakdowns as follows (TWh = TerraWatthour) for 2021:

  • Gold industry – 240.61 TWh
  • Global Banking System – 238.92 TWh
  • Bitcoin Network – 113.89 TWh
  • Ethereum Network – 44.5 TWh
  • Tezos Network – 0.001 TWh

Hopefully, this has helped you learn more about NFTs. Now you should be able to navigate this new phase in the evolution of the internet and the digital economy. If you’d like more information or want to go into more detail with NFTs and Web3, keep reading gmw3.

Eight Things to get you Excited for the Metaverse

The metaverse may seem like an overwhelming prospect to many. In some possibilities it can be seen as a stark departure from the internet we are currently using; some see it as a fully 3D virtual reality (VR) space, while others view Web3 as a more consumer accessible experience guided by our smartphones. Whether you’re gung-ho for the next internet revolution or a little more trepidatious, there are plenty of reasons to get excited about the metaverse.

Fear of Web3 is natural – we’ve become very attached to our Web2 lives, but much like the original advent of the internet, we’re standing on the precipice of something which could change the digital landscape for the better. It’s going to take a while for us to get used to the changes or see how some of them will directly benefit us, but as more creative and innovative people come forward, we’ll see some genuinely mind-blowing changes to our digital lives.

Metaverse
Image credit: Chaosamran Studio, Shutterstock

For Those who Want to Express Themselves

Our online identities are becoming more important than ever. In Web1 we were a static avatar on a message board or a blank face behind a keyboard. As we moved into Web2, our identity grew and we established who we were with social networks, or photos and videos shared. With the advent of Web3, the possibilities grow into a more 3D oriented concept. We will be able to display ourselves as 3D avatars which can be dressed and animated to either represent how we see ourselves in reality or become something new and unique.

Much of this expression will be done through micro-transactions and NFTs (non-fungible tokens), allowing us to buy clothes or avatar items in order to sculpt a visual identity for others to interact with. Some avatars will be bought ‘off the peg’, some will be designed from scratch; all of our Web3 avatars will range from the casual to the outlandish and all will mingle together in the metaverse. Users will be able to design clothes and accessories for each other, swap and sell items, or even become a different species. There has never been a better time to express yourself.

For the Collectors and Investors

It’s time to talk NFTs. Whatever your thoughts on the Blockchain movement, NFTs are here to stay. You may aspire to one day own an ape or punk, or you might not really care about them at all, but you need to be aware of how NFTs will evolve and operate. Non-Fungible Tokens don’t need to be JPEGS, they can be music tracks from posters, tickets to online shows tied to your crypto wallet, they could be 3D models from your favourite videogame or they may be the next Banksy. 

It’s not really the content which should get you excited, but the possibilities. Smart contracts and protection of the blockchain go far beyond JPEGs, they can protect your purchases elsewhere, allow you to directly fund an aspiring artist or musician, or simply build a collection of media that you own, rather than stream or rent. Digital ownership is something that could be revolutionary to consumers, particularly if fees and resale rules are well thought out and protect the owner.

For Your Spare Time

We already play games together and companies like Netflix and Disney+ allow users to pair their accounts and group watch content, so it’s easy to see that this could grow within the metaverse. It’s likely that these watch parties will be expanded to larger groups, with everyone’s avatar sat together in a small screening room. Home cinema rentals, which became popular during the pandemic, could also find themselves moving to metaverse digital twins of cinema chains.

We would imagine that large streaming providers – Twitch, Facebook, YouTube – may also launch a metaverse component to their repertoire, bringing a whole new aspect to streamers playing through videogames or eSports tournaments. And this is all before even contemplating how massively multiplayer videogames could be played in these new realms. The possibilities are huge: Interactive concerts, videogame charity marathons, book clubs, and more.

For Family and Friends

If the past couple of years has taught us anything, it’s that being isolated is terrible for our mental health and that video conferencing could be better. Especially when gathering with your friends and family. The global pandemic has accounted for huge growth in video networks such as Skype, Zoom and Discord, but they are simply small squares on a 2D screen. Moving into the metaverse will bring a whole host of new functions, many of which would accompany a videogame or DnD session quite nicely.

Meta, formally Facebook (when can we stop writing that?) is pushing its Horizon World VR app pretty hard, attempting to bring fun mini-games and group chats into virtual reality. While Microsoft is pushing Mesh for Teams, allowing users to create a 3D avatar to make things a little more fun. With other services – Decentraland, Roblox and Somnium Space – constantly evolving, we could see some more fun and unique ways to communicate with loved ones as time trots on.

Horizon Worlds

For the Shoppers

When we say that shopping will change drastically with the advent of the metaverse, we don’t mean you’ll be strolling through a virtual supermarket clumsily grabbing bottles from the shelves. However, the metaverse and the technology that comes with it will make some of your shopping experiences much easier and more interesting. AR technology is leaning towards being an AI companion in your smartphone, by reading product images and delivering more information to the consumer. For example, you might pick up a can of tomatoes and along with the nutritional values, you may see a recipe.

Of course, the interactivity of the metaverse will bring nice bonuses when shopping. If you want to buy a new car, a 3D model could be dropped into the metaverse for you to inspect every detail from interior tech to the sound of the engine; buying an album from a digital vendor could see the physical vinyl delivered to your house in reality, with some simple address pairing. Advertisements will shift and change also, becoming more passive through the use of billboards, park benches and product experiences, as opposed to pop-ups and banner ads.

For Work

With Mesh for Microsoft Teams and dedicated apps appearing to lead the way for metaverse conferencing, the way we work from home can dynamically shift. There are so many opportunities to interact with your colleagues; 3D avatars that mirror real-world movements, VR headsets that fully transport you to a new working environment or even software that can emulate several computer screens within a headset to up your productivity without cluttering your home office.

Now so many of us are working from home, it might be worth investigating how we can work within a metaverse setting. Offices and employers can implement new digital workspaces where meetings can be hosted, team building games can be played and you can experience the office atmosphere without someone cooking something gross in the shared kitchen microwave.

For the Artists

We’ve already touched on NFTs above, but it’s worth noting that metaverse technology will usher in a new era in the creator economy. With a decentralised metaverse, artists can set up exhibitions on their own to sell NFTs, or simply show off their work for purchase in reality; musicians can hold concerts large and small; independent game of movie studios can showcase their new products within interactive experiences.

Best of all, if these items are sold on the blockchain, the creator can set their profits themselves. There’s no middleman taking a slice of the pie and any NFTs sold in a secondary market will still see profits going back to the creator using smart contracts. We’re only just seeing surface scratches of what’s possible, but content creators will soon begin leading the way in how the metaverse can boost creators’ revenue and portfolio.

For Teachers and Pupils

As with most of us working from home during the pandemic lockdowns, we saw many kids having to study from home. While the majority of them are back to school, the metaverse can provide new and unique ways to learn. Through digital twinning, people can explore locations that might otherwise be unavailable to them – a zoo or museum, a submarine or the International Space Station! Educators can more easily tailor-make lessons based around abilities within the metaverse. Dangerous chemicals can be mixed, physics can be broken down, historic simulations can be observed closely. Universities can host digital lectures without the many-tiled Zoom screens.

Away from formal education, experts in a particular industry can find new ways to teach their professions or train new members of staff, or Ted Talks can be held in your living room. All of this can utilise the many ways we already interact with the internet. Where possible VR technology can provide full immersion, AR can be capitalised through pupils phones or tablets and desktop computers can still provide a gateway to a new form of learning, as long as everyone is connected to the metaverse.

Life in the Metaverse: Fortnite Keeps Growing

By this point, we’re all very used to Fortnite showcasing musical acts. Millions of players have swamped the servers to witness Ariana Grande or Travis Scott bridge the gap between concert and videogame. These events err on the side of metaverse for many, causing some to ask, is this the future of metaverse entertainment? For me, at least for now, I hope so.

Fortnite has been a trendsetter for some time now. It feels like barely any time passes between musical acts gracing the creative side of the battle royale. The latest musician to appear in the space is Tones and I, an Australian singer-songwriter who, until yesterday I had no idea existed. So I stepped into the concert portal not knowing what to expect.

It turns out that I actually knew a couple of her songs, but in the faceless era of music streaming, I had no idea who was behind the tracks. Upon spawning in the first area – a rather haunted-looking house – the first track belted out and I was joined by other players. This being a videogame, the areas are lightly gamified with golden musical notes to collect which reward a little XP, which gave me something extra to do between ludicrous dance emotes.

My initial thoughts of ‘oh, this is interesting’ suddenly ramped up when my avatar, plus the others being controlled by random strangers, took flight through various scenes; one was a dark room full of staircases and keyholes which would give Escher pause for concern; another was a desert full of tornados; at one point we were dragged through upside-down spooky forests. All the while Tones and I was singing away.

In a few of the areas we were given an egg launcher (an item from last Easter) which shot eggs out in an arc. As the eggs landed and burst in a splatter of paint, the liquid became a screen showing the live performance. Watching everyone splat the environment felt a little bit more collaborative.

By the end, I’d collected a good handful of XP, traversed many fantastical lands and partied with Spider-Man and Mystique, from the X-Men, and I wasn’t covered in other people’s sweat. I even heard a song to which I knew the chorus. In an odd way, I kind of preferred this small musical journey more than when Ariana Grande grew so large she could step on people. Sure, it’s not as elaborate, but it was equally enjoyable. Plus, I already knew who Ariana is, and while I’m not planning on buying an album by Tones and I, it proves that Fortnite can be a tool of discovery.

It’s all subjective

After the mini-concert ended I watched as everyone blinked into the aether of the internet and I returned to the lobby, eager for more discovery. There were two things on my Fortnite schedule, neither of them was getting owned by megachads or sweatlords as they built around me in a battle royale. The second thing to do was visit an art gallery.

Despite the garish externals of the Fortnite art gallery being draped in portals to other creative worlds, the experience was a little revolutionary. This was my first trip to an art exhibition in Fortnite. I’ve visited other exhibitions in Cryptovoxels and Decentraland, but the art on display there were NFTs either fuelled by memes or debase humour. This was as close as I could get to art without attending in person.

The artist here is Brian Donnelly, otherwise known as Kaws. Kaws’ style is abstract pop art, which switches between the traditional commercialism of pop art and the almost surreal and lavish design from abstract traditions. His art bursts with colour, full of personality and familiarity. Many will recognise his work from various pop culture outlets.

Walking the halls alone, or with a few friends, is a nice distraction from the chaos of the core gameplay of Fortnite. The stark white walls are interrupted by large paintings or towering sculptures. There is a distinct lack of information, sadly; there are no name cards to infer dates of creation or even the title of the works. While the actual exhibition left a little to be desired, it’s an important step for the videogame platform.

Can this be the Metaverse, Please?

This is what I personally want from any possible metaverse at the moment – a place where we can discover new music or watch a trailer for a film, or absorb the cultural impact of art, while still having some interaction with the other users in the experience, particularly friends and family. Because sometimes those users elevate the moment and because sometimes communal discovery feels a little more exciting, like attending a gig in the real world and falling in love with an unknown opening act.

Fortnite, much like Roblox, is in a favourable position in how it welcomes people into a metaverse-style experience; in fact, for many, this will be their first taste of something akin to a metaverse. While many consumers aren’t quite ready to go full bore with a VR headset, it must be remembered, neither are content creators nor large platform holders. 

What we see in Ready Player One and Snow Crash – large gatherings of people all dressed differently, or even of different species, conversing and sharing, just isn’t physically (read digitally) possible. Though some may argue that Fortnite is our current equivalent to Oasis from Ready Player One; a pop culture mash-up where Disney, Marvel and DC Comics all rub shoulders with Star Wars, Rick and Morty and Jinx from League of Legends.

To craft a fully-fledged metaverse would take hundreds of thousands of people spending billions. Fortnite just about handles fifty to a hundred users travelling through a pre-recorded and pre-programmed event. To do something like this in real-time would require millions of dollars in investment for servers and bandwidth. And this is before considering the graphical performance of the animated style compared to something more realistic, which would strain servers even further.

The Future is…

Changeable. For now, at least. Your metaverse experience is only as good as the platform you choose, and currently, videogame based platforms are going to thrive, Fortnite in particular. While Roblox can boast concerts and games, too, the visual aesthetic can be off-putting to many and a lot of the games are repetitive. Fortnite, using the power of its creator Epic Games, can leverage a unique position to create these little pockets of metaverse content.

As time marches on, the creators within the community are building more unique ways to play and interact with each other. In fact, for so many of the largest trends in Fortnite, the ideas have often spawned from community creations, and not just from their own game. Prop Hunt first appeared in Garry’s Mod and the fashion shows that once took over Twitch streams evolved from players showing off their skins and accessories to each other.

When you combine this with the cultural and entertainment events which Epic arranges, a metaverse can slowly bloom in line with the audience. Dipping in for the odd concert brings the community together, events like the Kaws exhibit or the MLK ‘March Through Time’ experience can take players outside of pop culture allowing them to learn.

If this is the first step towards a cross-platform metaverse, then this step is a safe one. Even users who aren’t as interested in the core gameplay of Fortnite can jump in and experience what the platform has to offer. Importantly, Epic isn’t asking much of the consumer; the game is free to play, there’s no need for a VR headset or the early expense of buying land and there’s no restriction in who you can play with. Where will Epic go next? Is this their long-term metaverse plan?

Should the Metaverse be Gamified?

When discussing the metaverse it’s clear big brands and tech giants have a conundrum on their hands – exactly how do they get the public to engage with something which seems so fantastical? Some of the aspects of the metaverse being discussed currently are pulled directly from sci-fi novels and movies. 

How do the big corporations help the public visualise a decentralised digital space? Where ownership is everything and our physical lives merge with our online selves seamlessly? A place where we can replicate our homes in cyberspace, or live an entirely new life built around blockchain.

These ideas almost feel unbelievable in the same way that our smartphones once did when mobile phones could only log on to the internet using WAP and charged by the minute. Even the idea of paying for a coffee by tapping a watch on a card device seemed far-fetched until a few years ago.

The answer may lay within the industry which has been embracing metaverse concepts for years – videogames. Gaming already allows for virtual selves, digital currency, utilises both virtual and augmented reality, forms cooperation and instant messaging between individuals or within a large group. So, if gaming is leading the way to the metaverse, does the metaverse need to be initially gamified?

It’s clear that most instances of what we would call the metaverse are stemming from videogames. Not only do so many games feature aspects of an active metaverse, but they also steer the technologies, such as processing power and graphical interfacing. It’s no wonder that younger generations, the ones who dive headlong into games such as Fortnite, Minecraft and Roblox, are embracing new experiences like Somnium Space, The Sandbox and Decentraland after seeing many familiarities.

VR Headset
Image credit: Shutterstock

Internal or External

Perhaps we need to veer away from the metaverse for a moment and look at intrinsic and extrinsic ideals. To put it simply, to act intrinsically can be reading a book for pleasure, whereas extrinsically would be reading a book in order to study for a test. It can be seen as internal and external goals or drives.

If the big tech players were to gamify the metaverse, they would be extrinsically affecting the audience, giving them a reason to be there. It’s an outside influence, similar to adding a ‘like’ system to social media. Users then seek out likes, or in this example, points, achievements or challenges overcome. Rather than interacting with the ‘product’ in a more organic way through discovery because discovery can be scary for some users.

An example of this is Roblox. Do users venture onto the Roblox platform to interact with other users within an experience, or do they come for the gaming aspects? One could argue that it works in stages; the player comes for the games, then interacts with various experiences and possibly makes friends, or discovers creativity, turning them into a user who splits their time differently.

This is a tactic used often within gaming; implementing goals to drive interaction. The launch of the Xbox 360 in 2005 introduced an Achievement system, which used points to reward players for exploring or meeting targets. This was then implemented for PlayStation 3, then on Steam for PC users. Players began chasing achievements and trophies, which urged them to explore areas or take on tougher challenges. It was partly pavlovian, realising serotonin when the message of a new trophy was displayed, but it also fed into our natural human need to explore and be rewarded.

Social Farming

To see how tech companies have incentivised users, let’s examine Farmville, a game that swept across Facebook for several years. A game that required little more effort than signing into the social website to grow some crops. Facebook didn’t program the game, nor did they design any aspect of it – that goes to Zynga – but they allowed its placement on their platform. They allowed it knowing that it would bring more people to their social space. There’s no way of knowing how impactful the game was on growing Facebook’s user base, but at the time seemingly everyone knew about Farmville.

Six months after release, when Farmville was hitting its stride, the game had 72.9 million active players, that was 20% of Facebook’s users at the time. These numbers only grew as the popularity of social media exploded. Between April 2009 and July 2011, Facebook’s user base grew from 200 million to 750 million, and Farmville was asking each player to message their friends and ask them to come and play.

At the time, it was an extension to social interactions – something to do with your mother or sibling while online. Mark Pincus, who was chief executive of Zynga at the time, remarked to the New York Times: “we thought of it as this new dimension in your social, not just a way to get games to people.”

The Farmville example shows how a game can guide users towards a new experience or technology. Many of the players who swarmed to Facebook back then were older demographics and while they were there after they’d harvested their crops, they could check in on the family, share a photo or do some shopping. As time passed, the games faded into the background but Facebook was still a place where users checked in every day. Now they weren’t being incentivised, they were simply engaging with a new technology – social media.

Gamified
Image credit: Shutterstock

Digital connections

What could be a possible first step for consumers? Much like Farmville in our above example, users need to be given an entertaining reason to log in. In a recent interview, co-founder of The Sandbox, Sebastien Borget referred to the mega-corporations such as Google, Microsoft and Meta and their intentions for the metaverse. He said: “We don’t think those companies can build something truly fun that’s catered to the users because they’ve been so focused on their key business model and how to satisfy shareholders.”

Discovering a new technology should be fun. It’s the reason most of us downloaded a game on our first smartphone – so we could pinch, stretch, swipe, flick and really get to grips with the technology. Now those actions are used when browsing a web page or editing a photo. There needs to be a reason – something to cause excitement.

The ‘reasons’ don’t need to be games, they could be experiences like concerts, celebrity meet and greets, album listening parties or fashion shows. These events and practices are already occurring throughout metaverse aspiring videogames and as long as the activity rewards the player or features interactivity, it is likely users will attend. The question then becomes ‘how does the metaverse retain visitors?’ Through ownership.

That doesn’t necessarily mean purchasing NFTs or owning land where you build a mansion or storefront; but by guiding users through how they can own their metaverse existence and how it relates to those around them. The reason people stayed with Facebook after finishing their last game of Farmville was connection. They were connecting with family or friends, or perhaps a different game. They came for a reason and stayed because of connection. This is what the metaverse – whichever version we embrace – needs to achieve.

An Easy Intro Into Blockchain Gaming

Blockchain gaming is becoming a beast to reckon with. Games based on blockchain networks have been around for a while now but since the buzz of NFTs and cryptocurrency during 2020-21, the popularity of these videogames has increased. The majority of these games require the player to connect a crypto wallet, which acts initially as registration to the game, but later can use funds to buy NFTs or LAND.

We’ve put together a list of some of the best games across the blockchain networks which require little to no startup capital. Many blockchain games are still in their infancy and require alpha keys to play, the games on this list however are all fully playable and have active player bases and marketplaces.

DISCLAIMER: Some of these games do require a financial investment in order to start playing. Please be aware that the value of NFTs in these games may be subject to market value change.

Blankos Block Party

Blankos Block Party

Blankos Block Party has the potential to be an enormous game; not just an enormous blockchain game, but in gaming generally. Blankos has a bit of everything – great gameplay similar to popular battle royales, bright and vibrant environments and avatars oozing charm and creativity. Some may compare the Blanko to Vinyl Funko Pops and you can see why. Each Blanko is a basic shape with unique designs overlaid. They can be cute, they can be scary, they can be combined to create something entirely new.

Each Blanko is an NFT that can be sold on the marketplace. Of course, nobody will want to buy your basic Blanko, unless it comes from their equivalent to the battle pass, so the idea of collecting duplicates to combine them and produce something fancy is appealing. You don’t have to sell any Blanko though, they’re designed to allow players to express their personalities within the game.

And the game is great fun. Combining the feel of LittleBigPlanet and Fortnite, there are shooting games and foot racing, or you can just hang out in the block and chat to other players while exploring well-crafted hubs searching for easter eggs and hidden areas. Blankos Block Party is very accessible to players of any age and aside from the ability to use NFT avatars, it barely feels like a blockchain title.

Splinterlands

Card battlers are an ideal genre for blockchain games. In reality, card collecting is a massive hobby, so it makes sense for digital cards to be equally collectable, particularly when they are NFTs. With Splinterlands, the gameplay is automatic – once you’ve constructed your deck of cards from your collection you will place them in an order to appear on a battlefield. Once combat starts the cards take turns to act – attacking, defending and casting spells – and you hope that your decisions (and cards) are stronger than your opponent.

The card illustrations are bright and colourful, creating their own style, away from other TCGs. Where Splinterlands gets really interesting is in the card combining, where you can level up your cards to create a more powerful version. This can only be done when you have duplicates of the same card, but it adds a new layer to playing.

Of course, with this being an NFT-based blockchain game, you can sell and buy cards within the game’s marketplace. This is vital to creating a good deck as the cards you receive at the start are very basic. Splinterlands supports purchases from OpenSea, Peakmonsters and monstermarket, so shopping around for the best price is often worth the effort.

Thetan Arena

Thetan Arena

It seems like some genres enter the gaming industry and never let loose their grip on players. Case in point, the MOBA genre is still big business, even so, many years after League of Legends broke out. Thetan Arena attempts to capitalise on this while using blockchain technology. Every hero is, of course, an NFT, boasting different stats and abilities.

The basic currency token, Thetan coin can be earned from using a free account and these can be used to buy blind boxes or trade heroes. The Thetan gem however brings more of your cryptocurrency features, such as evolving heroes to power them up, or staking money into the game’s future.

The basic gameplay should look familiar if you’ve ever played another MOBA; you control a hero with several abilities or power moves and must eliminate the enemies within the given area. The mix of action and tower defence works brilliantly for a blockchain game and makes a change from autobattlers. Elevating Thetan Arena above some other crypto games is the chance to play as part of a duo, while also playing on mobile platforms rather than just PC.

Mobox

Mobox combines several aspects of blockchain abilities into one overarching title. Not only is Mobox an auto battler, where you build a hero and upgrade their skills to fight others, but it’s also a yield miner. Token Master is an auto-battler you might recognise from so many other games – you build a team of three creatures, in this case, they’re a MOMO, and they fight each other earning you gold and skill points for upgrading their attacks. A MOMO can be bought and sold on the marketplace as NFTs, and you’ll need plenty to overcome challenges.

With MOMO Block Brawler, you build a hero based on traditional classes, assign them skills and abilities and send them into more auto battles. This mode doesn’t require MOMOs to start out and you can fight individual battles against other users, or trawl through dungeons looking for rare gear to improve your hero.

Away from both of these games is the mining; there’s one area where you stake $MOBX to farm for new MOMOs and there’s another that farms in-game gold and books, to improve your hero or MOMOs. The MOMOs are cute and tap into the collectable impulse in our brains, more so when you begin to customise them with outfits and accessories.

Gods Unchained

Gods Unchained

While Splinterlands (above) visually taps more into Hearthstone, Gods Unchained is zooming in on Magic the Gathering. It’s not just the visuals either, Gods Unchained hopes to bring a level of complexity to the TCG genre. This is far from an auto battler and requires real-time tactics, as well as loading your deck with the best cards in your collection.

Gods Unchained feels like MtG and Hearthstone had a little NFT baby. There are all the usual TCG skills like regenerating health, spending mana points to act and combining attacks to boost your offensive plans. If you’re a fan of Magic the Gathering, the transition to Gods Unchained will be a simple and enjoyable one. And while a little crypto can ease you to more wins, the game is great at rewarding you with packs to open and cards to collect without spending a fortune.

The boards, card animations and character designs are all superb and will definitely scratch an itch you didn’t know you had. If you’re looking for a tactical game to play and hopefully earn some crypto along the way, you can’t go wrong with this one.

Review: Avicii Invector: Encore Edition

Avicii Invector has already seen success on other platforms; across home consoles the rhythm game has won over fans of the Swedish musician and those more unfamiliar with his music. The game was initially released after the early death of the house music star. It was a game he had spoken about between albums and touring.

AVICII Invector: Encore Edition

Avicii Invector: Encore Edition sees a young woman speeding through abstract worlds in a spacecraft. In order to reach the end of each world, you must tap buttons on the controllers to guide this craft through checkpoints and jumps. It’s your standard rhythm game fare – the timing of button presses needs to match the beat of the song playing in the background and the on-screen prompts.

All of the songs here, it should go without saying, come from Avicii’s back catalogue. There are big, bouncy melodies and crunching beats that rebound off unique instruments and sweeping vocals. Depending on your level of fandom, it’s likely you’ll know many of the tracks, but let’s be honest, if you’re interested in playing this it’s either because you love Avicii’s work or because you’re a rhythm game fiend.

It’s a shame then that the game flounders on that latter point. The core mechanics are sound, timed button presses, dodging the craft left and right, while also using anti-gravity pads to rotate the level ninety degrees, sometimes spinning it like a wormhole. If only the developers had added a sync option allowing players to adjust the visuals and music so they align.

For many of the tracks I played – and it should be noted that I’ve played this game on Switch and PlayStation 4 previously – the beats just weren’t in sync with the prompts on screen, sometimes being off by a whole second. It made for a very disjointed and jarring experience playing on wireless headphones. This could be fixed easily with a latency menu, which is actually included on the console versions, oddly enough.

Then there’s the reason we’re here, the VR features. While it’s disappointing that the cutscenes are presented in a cinema screen style, we’re not here for the story, which is barebones as it is. Throughout the levels the world swirls around you; geometric objects float and twirl, lights pulse behind your head and the rotating mechanic flips the environment. The landscapes always feel otherworldly and alien, but the VR doesn’t add much more to the standard game.

This edition for the Meta Quest does include the multiplayer option, which allows up to four players to ride together. In this mode, you’re playing to see who can nail each track perfectly and it really clicks when you can hear each person humming along to the melody, if playing with friends.

Moments where the craft soars above the playing field to swoop through hoops of light feel encompassing, though also slightly nausea-inducing. There’s also an odd choice here to use the controller thumbsticks, rather than motion control, as it would suit the spacecraft concept. These are minor quibbles though. The blistering feel when I slammed the boost buttons and the world became more tunnelled and claustrophobic – like an underground nightclub – felt exhilarating. 

There’s a sense of motion constantly, like a VR rollercoaster, and when everything clicks into place Avicii Invector: Encore Edition is a thrilling ride through the musician’s career highlights. It does however feel like this version of the videogame is ticking a box, rather than living up to its potential. Nothing overly original comes from the use of virtual reality and the exclusion of a more thorough options menu is a severe misstep.

Review: Anshar Wars 2: Hyperdrive

Anshar Wars first existed as a Samsung Gear title, before moving on to other platforms. This sequel iteration first released back in 2015 and it was a very different beast to what we see today. The previous version featured a completely different control scheme, using head movement to guide the spacecraft while a gamepad picked up weapons systems and targeting. Upon first loading up Anshar Wars 2: Hyperdrive on the Meta Quest 2, it seems as if the entire game has been overhauled.

There are few scenes better than a space landscape in virtual reality; that feeling of being able to traverse the stars. Even Anshar Wars’ cartoon visuals have a terrific impact on first viewing, as long spacecraft yawn into the distance while our nimble craft dips and swerves among asteroids. It’s an exhilarating feeling just being in motion, though my first mission was a disaster as I tried to literally find my feet in a frenetic battle.

Playing while standing feels wobbly and wrong, I soon pulled in my swivel office chair and got comfortable. Mission two was much more successful as I turned my chair to focus on the action around me. Where the first game steered the craft using head movement, this sequel relies on tilting the controllers and physically rotating your body. This leaves your head free to move and glance around the scene – ideal for finding enemies.

The Quest controllers do a lovely job of banking the spacecraft, while also being used to aim the ship’s weapon systems – one hand aims the primary weapon while the other takes the secondary. Guiding the ship using a combo of hands and body, while aiming and launching missiles or lasers feels remarkably intuitive making the excitement of the dogfights feel ever more joyous.

Unfortunately, while this is a great base for action, Anshar Wars 2 delivers a rather generic story. It’s a classic space opera of humans versus an alien race, each wanting to wipe out the other. You’ve seen it all before and the lack of any interactions with 3D models of the ensemble removes all sense of emotion. Story beats and dialogue are delivered via static 2D portraits hanging in space, which feels a little lazy given how glorious the ship models are.

The title screen gratuitously thrusts the spacecraft in your face showing off the sharp angles and sleek panels. You’ll cycle through several spaceships while playing the thirteen story missions, and each of them is a beauty. It’s clear to see where the inspiration comes from – the Star Wars X-Wing is a sexy craft, if we’re all honest – but these still feel unique to Anshar.

Perhaps the most frustrating aspect of Anshar Wars 2, is the more difficult combat. While I couldn’t test the multiplayer, there was an option to play against bots who provide a greater challenge than those in the campaign. These dogfights are much tougher due to the sheer speed with which the opponents move and change direction. Reacting to these enemies means swiftly rotating your body and head – half the time I was glad to be sat down otherwise I think I would have fallen down.

Thankfully, buried in the menu there’s an option to decrease the dogfight intensity, along with other accessibility choices to make the experience a lot smoother. For example, you can choose which controller is used for increasing speed, plus you can choose snap and smooth turning rather than moving your head and body.

It’s a shame that I couldn’t have a bash at the multiplayer, because what is shown through bot matches looks like bags of fun, with the game including a team deathmatch mode and a battle royale, the latter of which could prove to shake up the format, particularly because of the fragility of the spacecraft; it’s simple to heal via pick-ups when in a dogfight, but get too close to an asteroid and you’re space fodder.

On the whole, Anshar Wars 2 does a great deal to stand out. Where the game could get bogged down by repetition, the developers have gone to great lengths to keep the missions unique, mixing up objectives or giving you different ships with other abilities to use. Several moments during missions had me grinning like a loon as I piloted the ship through tight ravines or zoomed through closing doors, creating cinematic memories. It’s a shame the story isn’t as cinematic and does little to set itself apart from other space adventures to make this a must-have.