Kevin Williams – Page 2 – Augmented & Virtual Reality Confabulation

March 10, 2022

The Virtual Arena: Amusements’ XR Focus

The leading UK amusement and entertainment trade event holds many XR secrets, industry specialist Kevin Williams, in his latest Virtual Arena column – looks at the trends shaping an industry that is gaining ground after a period of lockdown.

The Out-of-Home (OOH) entertainment scene has a wide array of weapons at its disposal. Be it Virtual Reality (VR), Augmented Reality (AR), Projection mapped immersive enclosures, being Mixed Reality (MR) – all under the general umbrella term of Extreme Reality (XR). All covered by the parapluie of these applications were on show with the return of the physical exhibition format at Entertainment Attraction & Gaming Expo 2022 Expo (EAG). An event dedicated to the best in amusement, entertainment, and leisure developments for the trade, held in London.

Virtual Reality

First off, the return to a physical trade event allowed many of the trade buyers to get their hands on the latest VR offerings from the international market launched last year – and making UK landfall for the first time.

One of the major trends shaping the amusement adoption of VR is the ability to offer a self-service, standalone kiosk. The obvious savings in not having to constantly man the game system, as well as a level of automation to the VR experience have proven a draw.

The VRsenal ‘V2’ is the latest incarnation of this approach. The company building on their previous VR Kiosk system, have now created a two-player standalone platform, supporting an automated controller and headset retraction system after each use.

Content is king in the land of immersive entertainment and the ‘V2’ hoped to bank on its available games. The system offers the chance for players to try Vader Immortal – Lightsaber Dojo: A Star Wars VR Experience. A specially commissioned version of the Star Wars property developed by ILMxLAB for the amusement scene.

Also available on the platform, is a special VR arcade version of Rhythmatics – offering a highly active VR music game – and Pirate Trainer; bringing full-on blasting action. The ‘V2’ is sold under special agreement in the UK and Europe through BANDAI NAMCO Amusement Europe (BNAE). The system uses a converted HTC Vive headset and controllers.

Another automated VR kiosk with a unique presentation was ‘VR Agent’. Developed in collaboration between Chinese studio 3MindWave, and SEGA Amusement International (SAI). The platform is a unique approach to immersive gaming – with the player viewing the virtual environment through the headset mounted to the weapon they are wielding. This alleviates the need for players to wear a cumbersome headset.

3MindWave VR Agent — 3MindWave’s VR Agent. Image credit: KWP

On the SAI booth, the kiosk-style amusement platform also incorporates a headset retraction system. Offering a pure shooting game experience, reminiscent of Virtua Cop – the player traversing an office block populated with robotic enemies. This new approach to immersive gaming proved compelling. The platform uses a cutdown 3Glasses VR headset.

Returning to the BANDAI NAMCO Amusement Europe (BNAE) show booth, two examples of the other trend in VR amusement were on show. The deployment of what has been called VR Ride Systems – a genre of two-rider player systems with motion seats and special effects, have found popularity with operators.

On display was King Kong: Of Skull Island (developed by Raw Thrills) – which has two players using their hands to complete activities, while racing on the back of a jeep through the home island of the giant beast, avoiding monsters and obstacles.

Also, on the BNAE booth was STORM (developed by TRIOTECH) – which also had two players sitting on special motion seats, waving their hands to collect points and gain a high score as they traversed a world of confectionary, in the latest game on the platform, called Sugary Slope.

Storm - TrioTech — TrioTech’s Storm. Image credit: KWP

While the Raw Thrills platform uses the HP G2 headset, the TRIOTECH system used the HTC Vive Pro. Though both platforms incorporated the UltraLeap motion tracking system to represent the players’ hands in the game. Along with wind and motion effects to add to the experience.

Though not on the show floor, a new VR attraction developed by Frontgrid was just being rolled out in Qatar. The ParadropVR: Pod system is a compact virtual reality paragliding experience, based on the older brother platform. This new version of the system comprises exhilarating motion, rising, and lowering the virtual flyer as they soar through the landscape, collecting points in competition.

It is the application of physical effects to the virtual experience that single outs many of the successful VR amusement and attraction platforms. Far more people have experienced VR over the years through amusement and attractions, accelerating the development of new systems in the field. While EAG exhibitor Harry Levy offers examples of the latest Chinese VR motion-ride film systems that provide a passive VR experience.

Harry Levy Motionride system — Image credit: KWP

Mixed Reality

Beyond the traditional VR experiences, the Out-of-Home entertainment sector has embraced the other elements of immersive entertainment through MR applications. EAG exhibitor Sports Simulations had their active entertainment enclosure, using a large projected screen and object tracking. This offers a virtual sports simulator and even includes a bowling game.

Another immersive projection system presented was from Interactive 365, with their ‘Augmented Reality Air Hockey’ system. Using the latest object tracking technology and short throw projector, the company has taken the traditional amusement and given a major new twist. The platform offers different styles of mini-game incorporated into the air hockey action.

AR Air Hockey - Interactive365 — AR Air Hockey by Interactive 365. Image credit: KWP

Concerning the wider immersive entertainment scene beyond EAG, drawing on all the elements and technologies of XR, the London scene has seen a growth in investment in Immersive Live Experiences. Away from just the MR hardware, these new “Immersive Theater” experiences are popping up across London offering high-profile IP, with immersive technology elements in puzzle solving, and presentation.

Most recently we have seen popup experiences including Tomb Raider, and Money Heist from Netflix. There is also a brand new Gun Powder Plot experience in development by Layered Reality that will incorporate new XR elements; the same team that developed the War of The World’s immersive experience. Expect a full report in the coming weeks.

December 23, 2021

The Virtual Arena: Rise of the Virtual Athlete

The application of VR into the attraction and amusement landscape is covered by industry specialist Kevin Williams, in his latest Virtual Arena column – looking at the growth in the LBE landscape for eSport, and competitive VR attractions.

Much has been made about the opportunities of eSport within a virtual ecosystem, though from a consumer perspective, there has been more speculative investment regarding the opportunity. As seen with the acquisition by Meta of emerging eSports company BigBox VR (developers of POPULATION: ONE). While hunger exists from the player-base for VR eSports competition, only the Out-of-Home entertainment landscape has seen a serious adoption of actual mainstream prize based, virtual, competitive play. And this trend can be seen to be gaining momentum.

One of the first VR attraction developers to embrace the opportunities of eSport empowerment of their platform was Virtuix. The company known for their ‘Omni Arena’ competitive VR enclosure system have successfully installed some 45 units across the USA. Virtuix reported that it has seen over 2-million plays on its hardware. The system gained popularity through its prize pay-out competition. The company revealed the launch of their ‘2022 Omni Arena esports series’ – that will be supported by a cash prize pool of $100,000 for FEC venues. This investment has placed the platform on the map as being one of the largest VR eSports competitions in the West.

The popularity of the competitive nature of the game can be seen in the revenue it generates for operators. Virtuix revealed that some of its eSports teams have already played over 200-times on the ‘Omni Arena’. This is also supported by the watching audience that gathers to support the team and the building of a community supported on social media. Virtuix already paid out some $250,000 in eSports cash prizes. It would be easy to liken this popularity to that once witnessed in the bowling scene, but the physicality of VR eSports takes the competitive spirit to new levels of engagement.

One of the few VR videogame titles to have a strong competitive life in the consumer scene is the smash hit Tower Tag by VR Nerds. The games have been played across popular consumer VR platforms in tournament competitions but have also had a strong showing in location-based entertainment (LBE). In a relationship with Japanese amusement giant SEGA, VR Nerds licensed the game to be turned into a VR attraction platform, supported by VAL (Virtual Athletics League). And recently announced that the game would be coming to the West in an agreement that will see it placed onto the SPREE Interactive arena system. This free-roaming platform, allowing up to 10-players at a time to compete, using the standalone Pico VR headset. And will adapt a wholly eSports version of Tower Tag that will be available on the ‘SPREE Arena’ system.

The SPREE Arena in operation. Image credit: KWP

Another platform that applies eSports to their line-up is HOLOGATE. Famous for its successful ‘HOLOGATE Arena’ that has groups of up to four players, using tethered HTC Pro headsets, within a unique enclosure. The high levels of competition are supported by the inclusion of an extensive and customisable eSports tournament platform. The library of competition content on this platform also includes the Tower Tag property.

It is this level of competition, as well as an extensive library of titles that has cemented the popularity of the HOLOGATE platform with the operators and their virtual athletes. Many operators use the platforms tournament to construct their own team-based, venue competitions. This ability to create live events, offers a level of repeat visitation to the venue, along with the additional spend from the audience it generates to watch the compelling competition.

Developer Phenomena has created its own ‘VR Esports Arena’ – the whole system being packaged as a turnkey eSports solution for entertainment venue operators. Taking much of the guesswork out of running a free-roaming VR experience, and the requirements of prize tournament competition. Recently demonstrated at the Orlando IAAPA trade event in November 2021, the new version of the system offers a fully contained arena, with up to eight players (within a 32 x 20 ft., enclosure). The players are wearing the latest HTC VIVE Focus 3, standalone VR headsets. With audience supported by score displays. The developer offering one of three highly competitive VR experiences to compete within and looking to build an international tournament in support of the platform.

France saw a massive VR eSports competition take place during the Paris Game Week in 2019. Developer, EVA (Esports Virtual Arenas), installed a temporary 1,000-m2 arena that saw players using backpack PC’s, HP headsets and tracked weaponry, to take part in a major prize tournament competition. Building on this the company announced their first ‘VR Esport league’, attracting some 52 teams, competing for a $19,000 (€17,000 Euro) cash-prize. Having generated some 400,000 unique spectators on Twitch during the playoffs.

EVA has installed some nine rooms in venues, offering between eight and 12-player VR eSports arenas in France. Having signed licenses to open some 40 additional arenas for the end of 2022 in the country. They have developed several games themselves that plunge groups into tournament competitions. During a recent franchise expo in Paris, the company revealed its intention to have opened 225 arenas by 2025, expanding to Germany and the USA. Having seen first-hand the popularity of their eSports competition platform with their play-base.

Looking beyond the Western market, and we have seen eSports-based VR competition blossom on the Chinese entertainment scene. While the Chinese “VR Park” (the name given to VR arcades in the territory) has seen a continuing upheaval in business, the popularity of VR gaming is still alive and well. Competition plays a major part in defining the deployment of VR into this market – a market where many players will travel to venues to compete, be that the ubiquitous eSport cafes, or the explosion of new VR venues. Such as that operated by STEPVR, with over 130 ‘Future Battle’ stores, across 80 cities within China. These venues have groups of up to ten players competing in a Multiplayer Online Battle Arena (MOBA) experience. STEPVR has recently raised $15m (100-million-yuan) in funding towards international growth.

The territory was one of the first to embrace virtual competition, with the first VR eSports event, the ‘World Virtual Reality Arena 2015’, organized then by Battletimes Co., but this is still an embryonic market. More recently China has seen several major VR eSport tournaments streamed across popular social networks – such as this year with the ‘VR Esports International Championship in Beijing’. A point where we now see major social content providers, such as NetEase, showing interest to invest heavily in this emerging new business.

Returning to the West, and not just free-roaming VR is being employed in an eSports combination. VRstudios is a well-known developer of VR entertainment platforms, and recently launched a major new development, which looks to shake up the way VR amusement is played. Called Hoops Madness, the game experience has been revealed on the new ‘FURY’ unattended two-player kiosk – a self-service VR entertainment platform that incorporates a unique tethered HTC Vive Pro headset configuration, eye-catching LCD display, all in a ‘V’ shape design. But it is the game that drives the whole platform, with Hoops Madness representing a fast-paced basketball hoop’s shooting experience, testing the players’ skill. The game is the first in a line of ‘VRstudios Real-Sport Esports’ titles. The company offers operators guides to marketing and utilizing the ‘FURY’ and Hoops Madness as a platform for VR eSports events, competitions, and tournaments.

In the final observation, it is obvious that the ability to offer a real cash prize incentive to competition has driven much of the interest from the player base. As seen with the explosion of eSports in its more conventional flat-screen incarnation. But one of the benefits that the Out-of-Home version of the competition shares with the considerable investment in eSports, is the large audience live events. Many entertainment venue operators benefit from the audience that is drawn to see the competition on their platforms. The next move is that of streaming these events. The big ‘DOTA’, ‘Counter-Strike’, and ‘League of Legends’ championships, not only draw large live event attendance but generate immense audiences through their streamed broadcasts. The ‘League of Legends World Championships’ in 2020 saw at its peak, some 46 million concurrent viewers, while Global audiences for eSport were calculated at some 475 million in 2021.

We can expect to witness new entrants throw their hat into the ring towards competing in the commercial entertainment application of VR eSports. We have already seen Las Vegas casino chains install massive eSports arenas within their premises and have also seen the inclusion of VR within their layout. We will also start to see the establishment of eSports betting, and with the greater prize opportunities, we can expect major licensing deals for the lucrative sponsorship and coverage. Global revenue in 2021 from competitive gaming is projected to hit over $1 billion.

VR eSports is an attractive medium, and seems to be growing in popularity, but is it ready now for primetime in the West?

November 15, 2021

The Virtual Arena: Immersive Theater Breaks New Ground

The application of immersive technology into the attractions and amusement landscape is covered by industry specialist Kevin Williams. In his latest Virtual Arena column – we visit the test project for a new kind of Immersive Theater – employing the latest technology, including Magic Leap AR headsets, making its debut in live performance.

The diversity of location-based experiences is constantly growing, we have already covered in this column some of the related immersive presentations in the arts. And recently the team behind a new project invited the media to be the first to be immersed in a new audience experience. Called Lost Origin Experience – the endeavour has been self-styled as a boundary-breaking piece, combing performance, mixed reality to offer an “Immersive Theatre”. A fusing of technologies, including a partnership with Magic Leap to deploy their headsets as part of the performance. Allowing the audience to interact with both the physical and digital worlds.

The experience was developed by studio Factory 42, presented in partnership with the Almeida Theater and Sky. The work is a UK government-funded research and development project, part of the Innovate UK to push boundaries in immersive experiences (the Industrial Strategy Challenge Fund’s Audience of the Future initiative). Along with the whole unique aspect of this immersive theatre, is the careful attention to detail cemented using the full gambit of mixed reality (MR) applications. This is stated as being the first-ever large-scale visitor experience deployed with Magic Leap headsets. The whole project is a limited-time test run of the concept, being operational only for a one-month window, in London.

Having booked a slot, the theatre experience sees the guest recruited as a member of the organization called “Wing 7”, planning to carry out an investigation, codenamed “Operation Origin” – directed to arrive at the field base at Hoxton Docks, in London. The experience starts before arriving at the secret venue, as guests receive a mysterious video emailed to them before they arrive setting the scene, from the operations director. Upon arrival at the field base, the guest is taken into a briefing and introduced to the team and key players. Actors set the scene of a story of dark-web auctions, and secret activities unfold, and then it’s time to enter the adjoining premises and start the search for clues, and more!

Operation Origin — Image credit: Seamus Ryan

Without going into too much detail and revealing the compelling storyline and experience, we can reveal that the adventure takes the group through several rooms’ settings, though the experience is fundamentally broken into four key acts but is much more nuanced. The first offers an immersive puzzle section, then we move into an area of wonder and mystery, then a chance to wear the Magic Leap AR headsets and interact with the environment. And then finally the denouement, where the group get to decide the outcome.

As stated, Lost Origin Experience has played with all the toys in the toybox of immersive experiences. Essentially, we have at the front the use of LARP’ing. Live-action role-playing (LARP) has grown in popularity since the early murder mystery experiences, and more recently with the Secret Cinema kind of events. As we reported in our coverage of ‘The War of the Worlds’ VR experience, the use of theatrical production to drive the audience immersion and steer them through the narrative has grown in popularity combined with immersive entertainment. The Lost Origin offers a great cast, who worked hard to drive the experience for all the guests.

Regarding the other elements, the surprising use of projection-mapping was cleverly and subtly achieved, with guests solving the puzzles and then being transported into a dream-like state. Alongside the projection mapping, the use of motion tracking allows the small audience to drive the story interacting with the narrative being revealed. The cast was ably supported by the live performances, masterfully steering the guests.

But it was the use of AR in this first of its kind immersive theatre performance that was the main area of interest. The developers had elected to use the Magic Leap One Creator Edition headsets for the performance. The group of guests on the third act of the experience are helped to put on the systems, and then navigate around a unique location, and given glimpses of spirits and even transported back in time. The Magic Leap systems were able to offer a competent AR representation, though they were limited by their performance, and it was not a seamless experience. But the developers of the AR app had managed to squeeze as much as they could out of the hardware, and it did work with the narrative presented.

For Magic Leap, the company has pivoted from consumer-facing towards wholly commercial (enterprise) development. Having even announced their plans for a Magic Leap Two, a new interpretation of their headset, with redesigned elements, for some time in 2022. The company has had their original hardware deployed in other pop-up attractions, most notably the deployment in AT&T flagship stores in America, running an experience based on HBO’s ‘Game of Thrones’ universe. Following troubling financial conditions for Magic Leap, and the exodus of senior management, a new CEO has repositioned the company, and secured new investment, to hopefully allow them to grow once again. The team behind Lost Origin worked with Magic Leap as far back as 2018, at the time as one of the only systems able to acquire for the research project.

Regarding the use of AR in such “Immersive Theater” and “Artainment” – several developers have attempted to harness this technology to that end. The most ambitious of these and one of the first mainstream applications was in ‘The Unreal Garden’, which launched as part of the ill-fated Onedome facility in 2018. Employing Microsoft HoloLens AR hardware. The experience proved so compelling that it has been re-launched now as a standalone experience. ‘The Unreal Garden 2.0’ has opened in San Francisco, continuing to expand the use of physical elements and digital illusion – with updated hardware (using the HoloLens 2) and new content.

Returning to London, and Lost Origin Experience – in conclusion, this was a great example of the development in immersive performance, and the strength in bringing strangers together to experience a narrative. A mixture of immersive escape room, with mixed reality experience and live-action performance – the whole thing lasted over 60-minutes and did not drag, seamlessly orchestrated. The experience will only be open for a short period, from 21st November till the 4th December, and will cost £30.00 (and £18.00 for 14–16-year-olds) all bookings online.

This latest example of Immersive Theater offered a glimpse of how tech can play its part in the grand illusion, and we look forward to seeing this kind of application evolve and grow.

November 8, 2021

The Virtual Arena: Free-Roaming VR Czech’s all the Boxes

Reporting on the attraction and amusement landscape, industry specialist Kevin Williams’ latest Virtual Arena column sees him venture to Prague. There to experience the latest European development of free-roaming VR technology and how it aims to launch onto the wider market.

Innovation and diversity in the VR development community have proven a major driving force in the growth of the market. No more has this been seen than in the Czech Republic. The country has thrown up much innovation and business success, from the sophistication of VRgineers’ ‘XTAL’ commercial VR headset to the Beat Games studio, recently acquired by Meta (formally Facebook), the Prague based VR team have arguably created one of the most successful and definitive VR videogames with Beat Saber.

Another company in the Czech capital that is driving innovation in VR is DIVR Labs. The operation is famous for its work in the Out-of-Home entertainment deployment of VR and has started a drive towards wider European penetration. Regular readers of this column will remember our coverage from 2018 of the free-roaming game experience Golem. Based on the famous Jewish legend; the compelling LBE attraction is housed in the city’s Hamleys Prague toy store. Where it still draws strong attendance from groups of players eager to experience VR.

DIVR has gathered a team of developers that have built on their formative experience in creating compelling free-roaming content. Recently the company launched another experience for their VR special-effects arena called Arachnoid VR – marrying the element of group-based play and puzzle-solving, with a sci-fi horror element. The company opened another LBE VR venue in Dubai last year, based on their exclusive platform.

Building on this proven track record, the company was commissioned to install one of its most far-reaching projects at the new Dinosauria Museum Prague as a part of the Premium Outlet Prague (POP) Airport venue. An ambitious shopping mall by the international terminal. The venue includes an amazing private collection of dinosaur fossils and ancient minerals, all presented in a new style of museum setting employing projection mapping and an open exhibition layout. The venue decided that to support this, they would incorporate the latest VR experience from DIVR Labs – Meet the Dinosaurs.

The 25-minute experience employs all the knowledge that DIVR Labs have amassed in developing and operating Free-Roam, Arena Scale VR experiences. The system employs the HP Reverb G1 Headsets, equipped with UltraLeap hand tracking. At the same time, the systems are connected to high-end HP PC backpacks. The whole operation of Onboarding is supported by Cleanbox equipment sanitization as standard, and a professional loading and unloading process.

Without giving away too many of the secrets, the actual experience proves a masterclass on how to navigate an audience for up to four players through a virtual experience, incorporating impressive visual vista’s and subtle effects (both physical and visual). While also including a new level of engagement through interactivity – the UltraLeap hand-tracking allows guests to pick up objects, and interact with actual creatures within the environment, which hold strong immersive and game narrative elements.

One of the most impressive elements of the Meet the Dinosaurs experience is the way that the groups of players are managed through the space, and how the operation has been compartmentalized to accommodate the needs of the facility as well as the needs of the game experience. The use of flying vehicles at the end of the adventure, a nice addition to the walking and hiding elements. Building on what has been achieved with other VR experiences.

The continued success of the DIVR Lab developments in free-roaming experiences has spurred on investment in growing their standalone entertainment offering. The company has plans to start the process of opening their first flagship European venue, which will incorporate a selection of VR experiences based on their foundation work. Interpreting the best elements of how to achieve the best LBE VR experience and generate recurring revenues. We look forward to reporting further developments in the New Year.

October 26, 2021

The Virtual Arena: VR Ushers in the Next Generation of Laser Tag

The application of virtual reality (VR) into the attraction and amusement landscape is covered by leading industry specialist Kevin Williams. In his latest Virtual Arena column, he reveals the first deployment of the HTC Focus 3 into the Out-of-Home entertainment sector, part of what will mark a revolutionary new application of VR within the proven Laser Tag scene.

One of the biggest elements to the success of VR in the location-based entertainment sphere has been its utilisation of physicality. In the first phases, this was achieved with motion platforms, then with the next phase, we saw the use of free-roaming – the ability to move around a space, and in some cases very limited interaction with physical objects. But with the latest developments, we see the highest yet achieved levels of interactivity that looks to launch the medium into the next phase.

The entertainment scene has had a long love affair with what has become ubiquitously called “Laser Tag”. Since 1984, when the first arena-based laser tag facility (Photon) opened, the ability for guests of all ages to run around an arena, using walls to hide behind, while blasting fellow players with laser weapons, registering hits from their own vests through tactile feedback, has been established as a major hit. The amusement industry has seen Laser Tag arenas become a staple attraction across the entertainment venue business landscape. Even after a failed attempt to make a home entertainment alternative.

A conventional Lasertag arena, now able to accommodate VR experiences. Image credit: Creative Works

Having carved out a reliable business in the industry, laser tag looks to be at the centre of the next major development in the phase of VR evolution. Free-roaming, backpack PC based VR has been a major phase of investment; but the need for an approach that looked at utilizing the already established arena business for laser tag was needed. An approach that could offer a package that could safely incorporate the physical obstructions found within the space. This was the opportunity that galvanised Creative Works, one of the leading builders of laser tag arenas, as well as a sales force to the industry of VR hardware from HOLOGATE and Major Mega (‘Hyperdeck’).

The fruits of this effort can now be revealed with what has been dubbed the “Next Generation of Laser Tag”. Launching Limitless VR, Creative Works has envisaged a multi-player VR experience, employing the latest Standalone VR hardware, that can be played within actual laser tag locations, without the need for the modification of the space. Offering a seamless means for VR entertainment to sit alongside the already proven physical laser tag experience.

Using the latest laser scanning technology, existing laser tag arenas, including their walls and obstructions are scanned and represented exactly within the game space. The physical items are married to the virtual environment. Creative Works has partnered with a specialist in LiDAR laser imaging to be able to create an exact recreation of the area elements, through 3D laser scanning. This allows players to interact safely with physical barriers within the game space. The majority of other free-roaming virtual arena systems have negated the inclusion of physical props due to the limitations of their VR hardware.

One of the big elements of the Limitless VR experience is the use of the HTC Vive Focus 3 – the first location-based entertainment (LBE) system to field the brand new standalone headset. The Vive Focus 3 offers a powerful platform targeted wholly at the commercial business scene, powered by the Qualcomm Snapdragon XR2, which now ventures into commercial entertainment. The platform will offer the ability of up to 16 headsets at launch (with the ability to scale up to 30 in the future), to take part in multi-player experiences, embracing another vital element of laser tag, that of multiple player competition. Creative Works has been in partnership with HTC to be the first to deploy this platform into the entertainment market.

In support of the headset, the players will be using the latest game interface. From StrikerVR, the experience uses the new ‘HD Haptics’, compact gun systems, which incorporates the haptic feedback technology from the range. Deployed for the first time on this attraction. So along with the latest weapon systems and VR headset, the Limitless VR platform can negate the need for cumbersome backpack PC’s. The laser tag arena now turned into a virtual game space, populated with virtual elements changed at the click of a mouse.

Laser tag offers an important element in many entertainment facilities, offering, not only games and competitions but is also central in many of the private hire (birthday party) business that draws revenue. Being able to target these group bookings with a versatile VR platform incorporating many of the familiar elements of highly physical gameplay, now super-charged with an immersive game experience. Experiences that will be constantly changing without the operator having to totally reconstruct their arena.

The ‘Limitless VR’ is the first Standalone VR experience to incorporate detailed physical object tracking and can be deployed across the numerous already established laser tag arenas in the market. Previous attempts had been made to use VR within limited physical arenas with objects, as seen with the aborted Oculus, ‘Dead & Buried Arena’ prototype teased at the Oculus Connect 5 event in 2018, (and then subsequently dropped). The need to have exact tracking of physical objects and offer multi-player experiences is essential to achieve the full potential of VR in this space.

With the new Creative Works release, this will mark the first of a new generation of free-roaming systems that are moving away from the encumbrance of backpack PC’s and employing sophisticated standalone VR systems. We will report on the other entrants into this scene and additional technological advancements that hope to bring the high-end PC VR experience to standalone headsets, unachievable at home.

September 29, 2021

The Virtual Arena: UK’s Hyper Reality Adventure

Exclusive coverage of all aspects of the Out-of-Home entertainment landscape, industry specialist Kevin Williams, in his latest Virtual Arena column – reporting from a visit to the launch of a brand new Hyper Reality Adventure in the heart of Birmingham.

Atmos VR - Hyper Reality Adventure — Image credit: Atmos VR

There has been a plethora of new free-roaming LB VR proffered onto the market. The separation from the more common virtual reality (VR) deployments, against the unique VR offerings has been defined under the term “Hyper Reality”. These unique systems employing more advance physical and virtual elements that create a more compelling experience. The UK has seen the deployment of the first of these experiences coming from US and Australian developers – but recently we had the chance to try the first Hyper Reality Adventure developed wholly by a new UK studio.

Located in the popular social entertainment hub of Digbeth in the city of Birmingham is a warehouse that has been converted into the latest VR entertainment venue. Employing the latest thinking and technology towards launching a new offering in this sector. We were invited to visit the ‘In A Box’ location, the flagship site for the Hyper Reality Adventure developed and operated by Atmos VR – and in the final stages of soft-opening before its full launch in October.

The ‘In A Box’ location has taken a vacant warehouse and themed it inside to represent a techno-punk apocalyptic setting. Along with this, a great bar atmosphere has been created, with a unique cocktail and beverage offering; supported with a partnership with the popular brand Brewdog.

But the main draw to the facility is their Hyper Reality Adventure Chernobyl: Hidden Depths. The first in a series of adventures planned for the platform, the multi-player game experience has been written by a Hollywood screenwriter, offering a dystopian environment set beneath the doomed nuclear reactor. The players take on the role of special operatives on a clandestine mission to retrieve secrets and discover the cause of the calamity. Clearly inspired by the HBO drama based on the disaster, but also offering a unique “Retro-Soviet” styling laden with spies and secrets.

Players don the latest HP backpack PCs and heavily customised HP Reverb G2 headsets that also combine accessories of UltraLeap hand tracking, and a special Olfactory platform from OVR Technology. These mounted effects systems are supported by a host of wind, heat and vibration effects littering the adventure arena. This being one of the most advanced free-roaming (Arena Scape) environments. Atmos VR has installed two arenas side-by-side mirroring the operation to allow for expansion and additional adventures.

The operation is in the final stages of completing development on the VR adventure, and we were able to play the current build. The experience combining elements of teamwork, hidden mystery and jump scares. It was impressive to see such attention to detail by the development team – marking the UK’s entry into the Hyper Reality adventure scene. The Digbeth district of Birmingham has become a Mecca for social entertainment with several bowling, mini-golf, and retro amusement bars. ‘In A Box’ is a perfect addition to the mix, and hopes to offer a repeat visitation element, with future iterations of the VR adventure hoping to expand the universe attracting players to upgrade their characters’ skills.

The VR venue will have its official opening on the 6th of October, and attendees will be able to get their chance to virtually survive the hidden depths of Chernobyl for £35-pp with an experience that lasts up to 60-minutes. The developers are looking to develop additional elements to the experience to build a community and drive repeat visitation. The Floodgate location for the facility is next to where Steven Spielberg filmed elements of the Ready Player One movie, and it is hoped that the new Hyper Reality Adventure at ‘In A Box’ will offer an equally compelling entertainment experience.

This is the latest of a number of new Hyper Reality venues scheduled to open or are operational in the UK – as previously covered plans for a new Sandbox VR venue for London have been revealed. Along with news that the original The VOID hyper-reality brand may be returning to the market after its initial collapse. We will be reporting soon on other developments in this growing sector of the LB VR scene.

September 17, 2021

There’s a Military Focus on Professional VR Training at DSEI 2021

The largest Defence, Simulation and Training conference descended on London (DSEI) and immersive technology specialist, Kevin Williams, took the time to traverse the massive convention space and return with observations on VR and AR impact in this sector.

The reality of VR in commercial training, simulation and education is often overlooked or side-lined. The enterprise or commercial aspect of VR has proven a very lucrative part of the technology’s deployment, with many consumer headset manufacturers pivoting from a consumer-centric focus to broadening their investment to include a commercial business focus.

What has been coined by me as the “Serious VR” landscape, comprising commercial applications using more powerful hardware and a focus on a core deliverable (such as training, marketing, or out-of-home entertainment). While the “Casual VR” scene is focused on consumer requirements and a price-sensitive, home gaming approach.

The best example of Serious VR was amassed in London, with the holding of the Defence and Security Equipment International (DSEI) 2021, covering all the ExCel exhibition centre, and even taking up the riverside births for presentations of the latest Naval craft. The show gathering more than 30,000 attendees from the international military services, and operations that support them.

Along with warfighting, the convention gathers security, medical, training and infrastructure elements, and the show floor proved a valuable litmus of the actual penetration of immersive technology into the aspects of the commercial scene. Previous DSEI attendance has seen a growing interest in VR, but this years’ shows a definite re-evaluation of the hype over the reality of the value of the technology.

The first aspect of VR application on observation can be described as “Direct Training”.

One of the largest military providers, BAE Systems, used DSEI to launch their new SPA-TAC platform, a solution for sophisticated training, and mission rehearsal suite of tools, using virtual reality visualisation. These allow multiple user support and are deployed on the latest high-end VR hardware. On the booth, the company presented both the latest VRgineers XTAL professional headset, with its impressive field-of-view. Alongside the HTC Vive Pro series.

Another developer at the defence event was VRAI – a specialist dedicated to combining VR and Artificial Intelligence (AI) towards providing enterprise and public service organisations remote training. The ability to use the latest VR technology to create a mobile training solution in the field driving many of the applications seen. On their booth the company had a flight training solution, employing the HP Reverb G2 headset. HP is one of those manufacturers that has seen the opportunity in commercial development support. And alongside this, was a Cleanbox Technology headset sanitizing system offering a much-needed hygienic approach to usage in this environment.

Across the way, on the Defence and Security Accelerator (DASA) stand was a demonstration of high-level immersion for training UK soldiers, employing the latest Varjo VR-3 professional VR headset. DASA is a government fund that invests in exploitable innovation for a safer future. The usage of VR in this application cutting the time for training, and offering better information retention by new recruits, with the control interfaces mapped to offer realistic weapon interaction.

The latest Varjo headset hardware was also seen on many other booths – the platform focused wholly on high-end commercial VR applications, offering an impressive performance beyond consumer headset specifications. The professional headset is deployed in automotive, aeronautical, CAD design and training. This marks a new phase of development in VR deployment, with the commercial sector at such as scale that it can support its own unique hardware development. On the Inzpire booth, the latest Varjo XR-3 was employed promoting its mixed reality capabilities.

The company had on one of their demonstrations a Joint Terminal Attack Controller (JTAC) training platform, that was incredibly portable and rugged. Powered by two high-end PC’s the user could wear the VR headset and see the actual binoculars and physical controls, as the MR capability dropped the real-world imagery into the virtual environment through sophisticated tracking. This was a compelling demonstration of the versatility that VR training can bring, and the level of immersion was extremely high compared to consumer applications. Also promoting their portability of training simulation, the company showed a helicopter simulator, using both VR (from an HTC Vive Pro) and conventional screen, able to be broken down into a small case.

Simple to install and operate VR training aids were also on display at the Lockheed Martin booth, showcasing their Armoured Fighting Vehicle (AFV) gunnery simulator. Employing in the VR configuration the Varjo headset and offering a means to be deployed anywhere for training units. Previously, this level of training would have depended on crude flatscreen alternatives, or expensive dedicated simulators, unable to be deployed in the field. VR applications beginning to be seen as a strong middle-ground alternative.

On the British Army stand was developers and solution providers QinetiQ – developing realistic training environments for mission rehearsal, and procedures. The company presented their latest environment for infantry training and army warfighting scenarios in urban conditions. Deploying the latest VR hardware with their setup of Varjo headsets. The level of visual realism and performance from their VR setup far surpassing anything comparable on consumer hardware.

The second aspect of VR application seen in this sector can be described as “Promotion and Visualisation”.

While there were seen some Standalone VR headsets, such as HTC Vive Focus, and an Oculus Quest 2 – these applications were more for promotional means, allowing visitors on booths a glimpse at simple information or applications. In previous years VR headsets on booths were ubiquitous, but now the focus was more on the high-end application, steering away from the casual approach.

Visualisation also saw the appearance of augmented reality (AR) on the show floor. To be more accurate the services have been employing AR in its basic form since the 1980s with the use of helmet-mounted optics supporting IR night vision or even heads-up telemetry displays. The latest AR technology has generated a lot of headlines in defence procurement, with Microsoft awarded a $22b deal to supply Hololens headsets in the evaluation of battlefield support for the US Army.

AR was represented at DSEI with the appearance of the Microsoft Hololens 2, being fielded on another part of the British Army booth, and with the developer of the application, Atos. The company is a world leader in digital transformation, providing cloud-based and information handling solutions. Their infrastructure used the Hololens to allow the user to have tactical awareness of the battlefield and deployment of resources, communicating with other users in real-time. Offering a demonstration of the future strategic planning aids that this technology represents.

Overall, the new trends on display at DSEI 2021 were clearly the explosion in investment into Unmanned Vehicles and Autonomous support – ranging from Naval based helicopter drones, and UAVs – with the first appearance of UAV land vehicles for support and casualty retrieval. Great advances in this sector are expected, and the use of augmented displays to track and direct these vehicles is expected to grow.

As mentioned previously, from the great hype and promise, VR has entered a more pragmatic phase in this industry. Its ubiquity replaced at this point, for a focus on more grounded high-end simulation, using the newly available high-end headsets. A new phase of development is about to take place, ejecting Serious VR into the next level of immersion.

August 13, 2021

The Virtual Arena: The Virtual Game Space

Covering all aspects of the Out-of-Home entertainment landscape, industry specialist Kevin Williams, in his latest Virtual Arena column is one of the first to try London’s latest immersive experience Chaos Kart; which pushes the boundaries of hi-octane Mixed Reality Entertainment.

Much of the thinking of immersing a player in a virtual space has been via using a VR headset. But there are developments being made to offer a wider immersive experience to large groups of players, where they all can share the visual representation, without the need for glasses or cumbersome head-mounted displays. And recently we have seen an explosion in the launching of “Immersive Display Environments” (IDE) using the latest laser projection technology.

The UK became the home of a first of its kind attraction in the heart of the capital and we were lucky enough to be one of the first to try out this amazing experience. Called Chaos Karts – a group of nondescript enclosures, located near Brick Lane in East London, hides inside a big secret. This is what has been labelled by the operators as the “ultimate Go-Karting experience”.

Engineered by The Ents Inc., working with Little Lion Entertainment (known for their work on the ‘Crystal Maze LIVE’), have created an immersive go-kart experience that combines physical electric go-karts with a game space that is an “Immersive Themed Race Circuit”. Achieved in part, through the use of over 32 high-end projection systems. The space has been mapped out, with the physical movement of the racing vehicles, and their interaction with virtual elements of the space tracked.

The Chaos Karts experience is achieved through two key elements – the Immersive Display Environment and the racers vehicle. The modified go-karts allow the players to race around the virtual race circuit, but also interact with the virtual and physical world. Steering wheel mounted buttons allow players to launch collected Power-Ups forward and backward of their vehicle. With a display to inform the player of collected items and their score, as they drive over gems.

This is the closest that can be achieved to actually being shrunk down and placed in a real-world version of Mario Kart. The “Gamification” of the traditional go-kart experience was masterfully achieved, and so compelling. The current attraction offers three immersive themed race circuits to compete on, with players racing around, collecting points along with items that they can launch to disable opponents.

The Chaos Kart venue charges £44 for players over the age of 13, (with off-peak ticket prices at £33), to take part in an hour-long racing and gaming experience. On arriving at the venue and signing, (along with creating their own avatar), they are then “shrunk”. And in groups taken to the track to play in sessions, experiencing six races in each of the three different courses. The players are briefed on their activities in the race by their Game Master, and his computer sidekick “Chipp-E”. The whole experience feels like one big video game, and the developers have worked hard to create an enjoyable and competitive space.

As stated, this is the first UK mixed reality gaming experience of this kind – but Chaos Karts is not the only immersive go-kart experience being rolled out Internationally. In Europe, nine facilities of the ‘BattleKart’ brand have been launched. Again, using projection mapping systems to create the immersive racecourse, a system that offers a slightly less sophisticated approach, but has proven equally as popular with its player-base.

These are just the first examples of complete IDE experiences that are being rolled out into the Out-of-Home entertainment sector. Projection-Mapping systems offering a level of fidelity of saturation and resolution that are unachievable from the current VR headsets, and we can expect to report on the next crop of immersive environment entertainment venues opening very soon.

July 26, 2021

The Virtual Arena: Dynamic Virtual Entertainment by the Seaside

The commercial VR entertainment sector is charted by industry specialist Kevin Williams. In his latest Virtual Arena column, he takes a trip to the seaside and Brighton, on the south coast of the UK, to go for a spin on the latest in immersive reality entertainment attractions, looking to wow the audience.

Immersive entertainment has come in many forms over the decades, while we look at VR as the new wave of immersive, the fairground and attraction industry has been supplying exhilaration for over one hundred years to a very eager audience. And we have seen the latest instalment of VR attraction projects building on that exhilaration, with what some have coined as “Dynamic VR”.

One of those providers of fun and excitement has been the UK seaside amusement industry, personified by the iconic Brighton Palace Pier, celebrating its 122nd anniversary, the Victorian structure has been an integral part of the seaside entertainment of Brighton and Hove since it opened in 1899, the iconic Grade II listed structure – comprising concessions, fairground attractions, two arcades and soft-play.

The venue has also been a valuable proving ground for the deployment of new concepts in attractions – and along with the happy holidaymakers flooding the destination, the site over the next few months will play host to the latest in Dynamic VR entertainment. And we were one of the first to experience these new thrills.

On test at the pier and developed by newcomer Studio Go Go was their new attraction ‘Ride with VR’. The concept builds on the idea of creating a virtual experience that mirrors the motion dynamics of a conventional motion ride platform. We have seen in the past this attempted with VR roller coasters, and even VR floom rides, but this marks the first VR experience mapped to the exhilaration of a Twister attraction.

At the end of the pier stands the venues’ own Twister fairground attraction (a derivation of the original ‘Twist’ American design). This wheels within wheel ride profile attraction, offering a unique ride experience over the years since the first attractions appeared in the UK during the 1960s. Now with the mapping of the motion envelope that the guest experiences, using the simulator technology ‘Go-Go XR’ developed by Studio Go Go, a dynamic VR experience can be created.

The company has developed three different virtual adventures on the attraction – their first experience called ‘VR Twister’ operational at the venue, working in partnership with the Brighton Palace Pier operators. The attraction is £4.50 to ride conventionally, but with the hire of the VR headset is priced at £7 to enjoy the full VR experience, (there are special offers as part of the piers day-wristband deal).

The VR Twister attraction drawing attention. Image credit: KWP

Once strapped into your seat, the attraction follows the required health and safety guidelines for deployment on a ride attraction, with a special harness connecting the standalone VR headset, (in case it is dislodged during the ride). Using a Pico G2 4K headset, the experience starts as soon as the ride begins, and transports the guest through a bright and colourful landscape, with tall spires and flying objects, the movement through the virtual landscape mirroring the acceleration and surges of the ride attraction.

Kevin Williams putting VR Twister through its paces. Image credit Studio Go Go

At the end of the experience, the headset is taken away for a wipe down and readied with the other units for the next guest. Employing antimicrobial storage for Covid-secure VR cleaning from Gratnells. The design of the experience is compelling and offers a unique additional thrill to a well-known attraction. A draw to a younger audience looking for a new level of engagement. The tracking of the ride profile by the ‘Go-Go XR’ technology can be applied to other ride attractions, and the company is looking at giving the ability of attraction operators to offer a VR experience on their rides, as well as developing new content and applications for other systems.

Along with playing its part as a test facility, the Brighton venue has a number of VR attractions in its line-up of thrills at the site. With an Immotion turnkey four-seat VR theatre (‘The Tower Coaster’), and a well-used LAI Gaming Virtual Rabbids two-seat motion experience. VR now playing a major part in entertaining the modern audience.

Immotion_BrightonPier — Immotion at Brighton Pier. Image credit: KWP

Dynamic VR is growing in popularity as the latest phase of immersive entertainment in the out-of-home entertainment landscape. Recently we have seen the launching of underwater VR snorkelling experiences using waterjets and special water-resistant headsets. And we will soon be reporting on the launch of the first Wingsuit VR experience (‘JUMP’) that all hope to push the excitement of VR experiences to the max.

July 12, 2021

The Virtual Arena: Returning Attractions – LBE VR Continues its Growth – Part 2

The commercial VR entertainment is charted by industry specialist Kevin Williams, in his latest Virtual Arena column – and in this second part of his feature and he look’s at the launch of Far Cry VR: Dive Into Insanity and the free-roaming VR experience created around the Ubisoft property for commercial entertainment.

In this second part of our regular coverage, and we continue to look at the new investment seen in the commercial entertainment market, from a London perspective. Following the global lockdown in business, a new thirst for location-based entertainment (LBE) can be charted internationally.

The investment in the standard VR arcade has grown towards a greater variety of experiences on offer (as was seen in the previous part of our coverage). The addition of free-roaming backpack PC VR has mushroomed, the latest phase of the deployment of this commercial entertainment into the market. Back in 2019, we charted in our column the appearance in London of a facility that was dedicated to offering Arena Scale VR through their purpose-built venue – MeetspaceVR located at Wembley’s BoxPark.

With the Zero Latency VR free-roaming installation, we have revisited the site and seen the growth of the business, including a VR escape room component, all part of continued investment. We returned as one of the first LBE VR sites we visited recommences business. Especially as the company has installed the latest free-roaming title and marketed a major development in the cross over between commercial and consumer IP.

The Ubisoft property Far Cry has been given the free-roaming multiple player VR experience, in a partnership with Zero Latency VR, and one of the first locations to install this new game was MeetspaceVR. The game can run eight players through the virtual environment, but due to capacity conditions following COVID is currently only operating six player games. The hardware in operation is the latest Gen2 version of the Zero Latency VR platform with HP Reverb G2 headsets and the latest PC backpacks and force-feedback weapons: totally immersing the players in a high-end VR experience.

With Far Cry VR the experience of the video game universe has been condensed into several compelling sequences as the players work as a team to escape the murderous clutches of their captor and his soldiers. To achieve the needed level of immersion and storytelling, Ubisoft and Zero Latency VR turned to UK game developers nDreams. Known for their successful development of Phantom: Covert Ops and other titles – the company’s pedigree is allowed to shine on the powerful high-end immersive hardware used in this free-roaming experience, and the AAA quality of the game is evident.

Designed for team play, with hordes of enemy, appearing in cover-based shooting sections, where the players must watch each other’s backs, and pick off attackers, up-close, or at distance. This is achieved by giving the player the ability to swap between an assault weapon and a crossbow for distance shooting. But the action has been spaced out to allow players time to catch their breath, as well as pulled into a drug-fuelled experience in the caves of the tropical island that has become their prison – pricing at £29.99 per player for the multi-player experiences.

After a 30-minute team-based game, the player is totally immersed in the experience, and the action proved a real workout, wielding the gun and blasting attackers with a heart-pounding final boss battle. Having tried all the Zero Latency VR game experiences since they launched, this game is the most refined, and feels like a AAA title – but also has learned from much of the experience the company has gained rolling out their platform across over 50-venues internationally.

This is the latest move by Ubisoft towards cross-platform promotion of their IP in the commercial entertainment space – with the ‘Virtual Rabbids’ VR amusement platform, the Ubisoft Escape Game VR experiences and now the license for free-roaming adaptation of their properties. It is expected that this will not be the last time we will see major game and movie properties appearing in LBE VR venues, and we expect to announce, another major property makes its way to the commercial entertainment scene in the coming weeks.