The Virtual Arena: A Snapshot Of The Latest VR at IAAPA 2017

Deep in the trenches at the World’s largest theme park, visitor attraction and amusement extravaganza (called IAAPA), in the heartland of the theme resort industry (Orlando, FL), and VRFocus special columnist on the Digital Out-of-Home Entertainment (DOE) sector – Kevin Williams – gives us a brief snapshot of developments spied on the expo floor.

The vast IAAPA 2017 show floor breaks record on attendance and number of exhibitors.

MediaMation

Presented a brand new HTC Vive powered platform incorporated with their 4D motion chairs, in partnership with Viveport Arcade.

CJ4D

Demonstrated their new 4DX VR 360° incorporating the Samsung Gear VR into a unique fully rotational motion seat platform.

Birdly

The developed VR flying experience makes its first appearance at the theme park convention looking to attract interest from facility operators – running on the HTC Vive.

Lotte World

An amazing mixture of augmented reality (AR) and virtual reality (VR) demonstrated from the Korean based developer, representing a virtual coaster based on the movements of a real model traversing the track in real-time, powered by Samsung Gear VR’s and an amazing new motion platform.

Skyfun Animation

A number of the latest Chinese VR Park platforms start to make landfall in the West, Skyfun running a number of their VR platform for the show audience to try, running on the groundbreaking Deepoon DPVR E3 headset (seen for the first time in the States).

Hologate

VR Arcade one-stop solution for interested operators available from a number of providers on the show floor – Hologate, partnering with laser-tag and escape room specialists Creative Works to provide a solution for interested buyers.

VRStudios

The latest free-roaming (Arena-Scale) experiences presented with VRcade Arena running on the show floor – the company in partnership with NVIDIA and HP to bring this platform to the market.

Maxflight

Veteran developer of their unique 360° motion simulator has revealed a brand new concept of their platform now running twin Oculus Rift headsets to supply the virtual environment, married to the extreme motion platform.

And finally, forget VR – how about actual reality! Calinfer S.A working in partnership with UNIS, recreates Atari’s PONG, using a mechanical recreation of the legendary title that started the video game genre!

This brief snapshot, of just some of the new releases on display, is intended to wet the appetite for his full coverage of the trends and development for the VR community from the 2017 IAAPA Attractions Expo, in the coming days.

August 24, 2017

The Virtual Arena: London Gets First VR ZONE Portal

At the debut of a secret installation of selected VR attractions operated at a popular family entertainment location in the capital, Digital Out-of-Home Entertainment specialist and VRFocus columnist Kevin Williams gives his report after he becomes one of the first to experience the setup.

The speed in which the deployment of VR in the out-of-home entertainment sector has caught many by surprise, and only a matter of weeks after reporting on VR arcade DNA VR opening in London, we have gained exclusive access to the first deployment of BANDAI NAMCO Entertainment new immersive entertainment concept with the test-opening of VR ZONE Portal London.

Enter London’s latest VR experience. [via KWP]

BANDAI NAMCO’s VR ZONE concept has gained great interest from the international media following the second opening of their virtual reality entertainment facility concept in Japan. VR ZONE SHINJUKU, opened with a two-story 3,500 square meters facility in July of this year. Comprising some 15 activities (12 of which are VR based), the VR community was wowed by the level of immersive engagement achieved, and big properties deployed – including the appearance of Mario Kart Arcade GP VR.

The Japanese toy, game software and amusement conglomerate following the successful launch of their VR ZONE experience has now an interest in establishing this brand, promoting the Project i Can initiative they have created – and amongst the fanfare for the launch of the Shinjuku facility, it was revealed to selected media that this was the beginning of a major roll-out of facilities. The company planing both standalone VR ZONE and smaller pop-up attraction VR ZONE Portal locations; and rather than just looking at Japanese installations, the company was in full swing to open VR ZONE Portals in Western cities such as New York, Las Vegas, Dubai and London.

Jump forward to August 2017 and BANDAI NAMCO made good on this promise with the opening of ‘VR ZONE Portal London’. As part of the Portal phase of the VR ZONE, the virtual reality attractions are pop-up installations within an already existing entertainment sites. The London O2 venue, in the centre of Greengage Peninsula, saw their Hollywood Bowl entertainment facility play host to the West’s first installation.

Once known as the Millennium Dome, The O2 Arena (or simply ‘The O2’) is now the hub for entertainment in Greenwich area of London. [via KWP]

Inside at the VR Zone Portal London venue. [via KWP]

Guests to VR ZONE Portal London were required to book to play the VR games at the reception, also used for the state-of-the-art bowling lanes, but unlike the other video amusement games and prize machines that are paid for with coins. This first Western test location offered two of the previously seen VR ZONE games to play. Either playing Hospital Escape Terror (short hand for the original titled Horror Real Experience Room Escape Ward Ω), or the anima mech game Argyle Shift. The players paying £7.99 ($10) each, and allotted a slot to play their respective games.

These are English translated versions of the original Japanese release, running on the HTC Vive headset, and borrowing heavily from the BANDAI NAMCO amusement industry track record. The VR systems using elements from previous amusement pieces construction in their design. Two enclosures of what are called “Immersive Horror Rooms” sit at one part of the area, running Hospital Escape Terror – a game that sees two wheelchair riding “Test Subjects”, navigate a body strewn abandoned hospital evading psychotic assailants and avoiding traps.

Hospital Escape Terror – Players positions inside the enclosure. [via KWP]

While in the other part of the area, running on what was labelled a “VR Cinematic Attraction”, was Argyle Shift – a VR game offering offers two networked motion cockpits allow players to take control of their flying experimental mech power suit, accompanied by a voluptuous co-pilot, dropped into a mass battle with enemy mech’s in the skies and on the ground.

Argyle Shift – The unmanned cockpits… [via KWP]

Argyle Shift – Players engage in combat. [via KWP]

These games offer a compelling VR experience if slightly shorter than expected, both, had a “To Be Continued” screen at the end of the game; a possible nod to future updates perhaps? These VR experiences lent heavy on the competitive two-player element as championed by BANDAI NAMCO’s Project i Can initiative. The area offering disposable Ninja Masks for hygiene purposes with regards the public’s use of the VR headsets.

The author – with hygine mask – about to enter battle on Argyle Shift. [via KWP]

Overall, an interesting first choice in VR games to bring from their selection of 12-experiences developed so far, and obviously at this point no word on future games that will get the Western translation and be shipped over, though expectations are high that the Nintendo first co-developed VR experience Mario Kart Arcade GP VR, is in the frame.

For those interested, you can see find links to the original Japanese teasers for Argyle Shift and Hospital Escape Terror here.)

A tantalizing first taste of the amusement sector’s deployment of VR into the mainstream Out-of-Home entertainment sector. Far more than just a ‘VR Arcade’ approach utilizing consumer games in a commercial entertainment setting, the VR ZONE Portal offers the expansive amusement operator industry – comprising family entertainment centers such as seen with Hollywood Bowl, or the likes of Dave & Buster’s in the States – a means to drop an exclusive pop-up VR experience into their mix.

Expect to read more news of developments in this sector being covered at the dedicated conference taking place in Las Vegas on September 13th-14th 2017, the Future of Immersive Leisure event will provide much more information on other new developments that will hope to shape this aspect of the market. VRFocus a media partner of the event, and will be covering developments in coming reports.

July 29, 2017

The Virtual Arena: The Virtual Theme Park! (Part 1)

With the destination VR approach gathering momentum, the need to establish a profitable model exercises many developer’s minds. Out-of-home entertainment specialist Kevin Williams in his latest two-part column reflects on the influential facility concepts that are shaping development in the virtual reality (VR) scene – this first part looking at the original innovative concept that set the mould.

While some mourned, many may not have been aware of the closure this month of one of the most pivotal (and longest running) entertainment projects in the establishment of the immersive entertainment sector, called DisneyQuest. Even fewer aware of this VR attractions project, let alone why it was now a victim of the axe. But rather the end of a failed experiment, it’s termination comes at the very time where the concept behind the experiment finds fulfilment.

The concept in question is that of an indoor interactive theme park (also seen as a mini-theme park) using VR technology to bring immersion and high thrill levels to make a smaller regional faculty act as compelling as a theme park. DisneyQuest was part of a franchise concept that would have seen multiple facilities opened across the globe.

The first DisneyQuest was opened to much fanfare in 1998, though only a Chicago sister facility would ever follow and shortly close, (while land would be broken for an abandoned Philadelphia site). The aspiration of this approach to a location-based entertainment (LBE) concept would be abandoned but not forgotten. Though the indomitable Orlando DQ facility would go on to become the longest operational LBE franchise with a permanent VR attraction offering. (Aladdin’s Magic Carpet Ride the oldest running continuously.)

The concept of indoor interactive theme park was not originated by Disney however – but was derided from previous development that saw the Japanese amusement industry invest millions into the development of ATP – Amusement Theme Parks. Facilities opened in Japan that married the concept of a deluxe amusement venue, with specially developed interactive media attractions (called Hi-Entertainment machines). Most notable of these by the NAMCO Wonder Eggs facility (first opened in 1992) and the SEGA Joypolis (first opened in 1994) – these venues planned as chain stores than would offer a theme park in a box, with the digital interactive medium offering a repeatability revenue stream that traditional theme resorts achieve through and through.

Conceptual art of the type of Hi-Entertainment machines [Credit: Arcade Flyer Archive]

These ATP concepts attempted to apply for the first-time innovative new digital technology. Along with interactive game narrative, the display medium was revolutionized. SEGA’s Joypolis, one of the first to deploy an attraction that used VR technology. The ground-breaking Head-Mounted Display (HMD) became the first of its kind to be used in a VR motion ride attraction; called the VR-1, and launched in 1994, the six-rider space themed attraction, gave a glimpse of the future of this technology.

The SEGA Mega Visor [Credit: Compute.info]

Seeing the birth of this immersive entertainment, the Walt Disney Corporation looked to play its part in development of this sector. Initially under Michael Eisner’s chairmanship, Disney started high-level negotiations with then ATP leader SEGA, working towards a joint project to bring a version of the Joypolis concept to the West. But at the time, corporate differences between Japanese and California management styles ended in abandonment.

With the collapse of the SEGA negotiations, the two parties would split – SEGA would jump into a partnership with Universal and Dreamworks to create the failed GameWorks amusement chain, (that would inevitably be brought-out from bankruptcy by management). While for Walt Disney, the dream of indoor theme park projects continued, with the formation of Disney Regional Entertainment given the responsibility of operating several concepts that included DisneyQuest, with aspirations that over 20 locations would be placed at major conurbations for maximum foot traffic.

Borrowing heavily from the Japanese amusement trades ATP aspirations, Walt Disney Imagineers (the corporation’s world renown research and development operation) created a concept that comprised the latest digital entertainment platforms within a 90,000-sq.,ft., facility – the most advance undertaking of its kind and pointing to an investment in offering both regional and international entertainment experiences.

DisneyQuest, at its heart, embraced the interactive attraction experience narrative and comprise, for the time, ground breaking VR and immersive technology. Many of the ideas touched on by the original Japanese ATP’s refined for a Western audience. Incredibly ambitious and technically challenging, the multi-million Dollar budget was soon swallowed up in achieving the required “Disney” level entertainment.

One aspect of this innovation was the development of the DisneyVision VR platform, an impressive tethered HMD system, that allowed guests to navigate a virtual world. The VR system in DisneyQuest employed in two experiences (Aladdin’s Magic Carpet Ride and Ride the Comix), running on Silicon Graphics supercomputers. DQ also employed Augmented Reality attractions and immersive projection system – years’ before mainstream adoption.

Launched in 1998 at Downtown Disney Orlando, the imposing building ushered in a new age of immersive entertainment, and received critical success, but was a facility that proved a monster to kept fed and define. The temperamental technology cost much more than expected, and the need for a dedicated staff operation saw a poor return on the grandiose revenue expectations. Likewise, the new Disney Regional Entertainment found it difficult to understand what they had with DQ, or how best to promote it.

Exterior of the first DisneyQuest [Credit: Attractions Magazine]

Interior of the first DisneyQuest [Credit: Inside The Magic]

By the time of the planned second facility opening in Chicago, the writing was on the wall for this project, and Disney’s regional chain store aspirations were shelved. DisneyQuest Orlando however defined all the critiques and continued to generate revenue while offering a useful family entertainment in the area. Many times’ staving off closure as it offered a unique interactive entertainment medium in a location bereft of such amenities. However, nothing lasts forever, and at the beginning of July 2017, the venue was finally closed, most of its attractions (and the building itself) far beyond their intended operational life.

Just as DisneyQuest shutters its doors for the last time, (and the amusement machines are auctioned off) there are others that have learned from this failed experiment to develop what could be the successor to the original indoor theme park approach. With the launch of brand new projects from SEGA Joypolis and BANDAI NAMCO. The very manufacturers that fuelled the interest in this approach though their ATP development now driving the next phase of innovation.

The second part of this column lifts the lid on the brand-new developments that hope to raise the crown, and become the new successors to the VR infused indoor theme park throne.

July 17, 2017

The Virtual Arena: On Location At DNA VR – London’s Virtual Arcade

London joins Dubai, Beijing, Paris, New York and Los Angeles, with its own permanent virtual reality arcade location. VRFocus columnist Kevin Williams got the chance to be one of the first to visit this North London location.

I found myself being invited to York Way in North London, and directed to a nondescript doorway in a parade of shops leading to a basement location. Upon entering I was welcomed to London’s first permanent virtual reality (VR) entertainment location. A dedicated group of rooms comprising the latest VR technology offering a pay-to-play commercial model.

A humble entrance to the delights downstairs.

Called DNA VR, this site has already held its public opening event the previous Saturday, and the owners were starting to get into the swing of running their unique operation. Coming respectively from an engineering, management consultancy and retail industry background, this marks their first start-up and move into operating a VR arcade. The team having worked hard to find their perfect location with strong transport links, and proximity to the popular Camden Market, attracting the site’s target audience: tourists. They are still in “listening mode”, collecting information from the players and visitors themselves on how to provide the best experience possible.

DNA VR co-founders Denis, Alexander and Anastasia

With DNA VR, the team are taking their time to evaluate the market, and has chosen a path of selecting games themselves, formulating individual commercial usage with publishers, or licensing selected titles from Valve’s SteamVR. The operation during our visit was evaluating a system that allows the guest to select the experience, with the facility team able to monitor operations and offer support.

Regarding the operations platform, within the enclosure DNA VR are using conventional HTC Vives, incorporating VR Covers, to offer the needed hygiene protection. The group’s ten individual play areas are split between separate enclosures for individuals, and those that allow group usage. For example, with the likes of Steel Crate Games’ Keep Talking and Nobody Explodes – offering a near escape room approach to team VR experiences.

Kevin Williams tries out his moves at DNA VR.

This was a well laid out, if utilitarian, approach to creating a VR Arcade, and seems to be a model that will see traction able to accommodate 12 people per hour model with their ten enclosures. As the team confirmed the first booking guests to the facility were familiar with the less permanent experiments to create a place to experience VR. In London’s Soho, the retailer GAME has added a VR demo-room to their Belong gaming area – but DNA VR is the first dedicated VR arcade.

The pricing model for the new venue sees single players paying between £20 ($26) to £25 ($32) for a 30-minute session (respective of off-peak and peak reservation); while for a 60-minute slots rise to £30 ($39) and £35 ($45) respectively. Group and party bookings are priced accordingly, while building on the Escape Room VR experiences available, up to six players are charged £115 ($150) to £125 ($163) respectively – all prices excluding VAT.

Selection of the larger and normal VR enclosures

It is expected that London will now see a surge of new VR Arcade locations opening in the coming months. A number of these projects following the success of the escape room approach to the business, while several venues look towards opening dedicated franchise locations emulating projects such as IMAX VR, VR ZONE and VR Junkies, to name but a few, seen opening in the West after an explosion in interest in Chinese VR Arcade and VR Park projects. Expect to read more about this aspect of the VR scene in coming reports.

The Virtual Arena will be back later this month with another discussion piece.

June 16, 2017

The Virtual Arena: From Silver Screen to Silicon Dreams! (Pt 2)

In the second part of his feature, (click here for part one) looking at the impact that the movie business and prominent Intellectual Properties (IP) have in steering new commercial entertainment VR business. Digital Out-of-Home entertainment (DOE) industry specialist Kevin Williams charts the major develops shaping this emerging new sector. One of the technologies gaining a strong interest from the deep pockets of this sector is the untethered backpack VR experience (Arena-Scale VR). The technology seen as the perfect medium to immersive the guest in the selected movie IP like-never-before, even some investors seeing this as a natural successor for the representation of the movie experience.

One of the most promoted developers of this approach has been The VOID, championing their ‘Hyper Reality’ concept. After many twists and turns the company opted to enter the race by presenting their technology within the Ghostbusters: Dimension attraction. Sony Pictures in partnership with operator Madame Tussauds investing in a walk-through waxwork attraction with a backpack virtual reality (VR) experience in support, commissioned from The VOID. The whole experience created as part of the marketing effort for the reboot of the famous Ghostbusters franchise, with the 2016 film.

The opening of the New York venue, though critically acclaimed and reported as seeing crowds, has yet to see the proposed roll-out at other Tussauds venues; but The VOID has opened a standalone Ghostbusters: Dimension attraction at JBR’s The Beach in Dubai. With a third installation charted for their new flagship entertainment facility in Utah, Nevada, scheduled to open to the public in July.

The growth in interest in movie properties having their own backpack VR experience was evident during CinemaCon 2017. New start-up Nomadic is an immersive entertainment company creating tactile VR adventures, and promoted at the conference their backpack VR experience (Arena-Scale), aiming to occupy a 20-foot-by-30-foot space. Not only seen as “Lobby Entertainment”, but targeting the existing screening rooms (auditorium), to be appropriated as standalone entertainment offerings with their own recurring revenue stream.

Major movie IP’s that have embraced Arena-Scale VR technology have started to reveal their plans thick-and-fast over the last few months – major movie studios such as 20th Century Fox, through their theme park arm (FoxNext Destinations) revealed that they are in the process of developing a 2,000 sq.,ft., multi-player VR experience based around the Alien movie franchise. FoxNext working to develop a ‘free-roaming’ VR experience undergoing secret testing. This new development building on the work creating a free cinema pop-up 360-degree VR journey called Alien: Covenant in Utero; the promotional lobby entertainment developed by FoxNext VR Studio in partnership with AMD Radeon and DELL.

Another major movie franchise receiving VR attraction investment was revealed to be in develop in partnership between Hasbro and DMG Entertainment, (through the recently established DMG VR division). The planned Transformers Experience Center is based on the popular Transformers IP that over the last 30-years has expanded to include comic books, animated series, films, video games and consumer products, the recent film properties generating $850 million internationally. The first interactive Transformers digital simulation experience center, scheduled to open in China this summer.

The application of arena-scale VR has been charted beyond the cinema landscape, with already Zero Latency establishing a growing number of locations for their multi-player backpack VR platform. The game system complimenting family entertainment centers and karting locations. A constant iterative process the operation launching their last multi-player backpack experience called Singularity with a play duration of 30-minutes in this space station exploration narrative. While at the same time announced that they were working on eight-player simultaneous experiences – while also planning to open the largest free-roaming virtual arena in America in the Boston-area later this year, and Philadelphia in 2018.

As previously reported the Asian amusement scene has jumped into out-of-home VR applications with both feet, in Japan investment in this approach has increased and Zero Latency, saw the first commercial installation of their system through a deal with SEGA at their JOYPOLIS site. Building on this, and a new location for Arena-Scale VR experiences opened within the brand new ‘SEGA VR Area’ location – taking over the top (6th) floor of the famous Club SEGA Akihabara amusement venue in Tokyo. The venerable Japanese amusement factory the latest to dip their toe into the waters of dedicated VR based out-of-home entertainment.

The first VR installation in this new space sees SEGA partner with Korean based Skonec Entertainment installing their new Mortal Blitz For Walking Attraction – a three player, backpack VR shooting experience, (using the Pimax 4K headset), opened to the public at the end of May. This destination facility approach following the work that the other amusement powerhouse BANDAI NAMCO Entertainment achieved with their first VR Zone: Project i Can temporary installation; BANDAI announcing that they will be opening a second version of their temporary VR Park in a matter of months in the Tokyo area. (Editor’s Note: For more about this check out two recent VRFocus stories about the experiences on offer including ones based on Mario Kart, Neon Genesis Evangelion, the Gundum franchise and Dragon Ball Z.)

Underlining the interest in using VR as an audience experience akin to a movie theatre or planetarium approach, and Japan has seen the launch of the VirtuaLink. A pop-up paid entertainment experience that has multiple guests sharing a virtual space, with a specially created 360-degree 3D video. Several locations around the Tokyo area will be turned into viewing theaters accommodating some 26 special seats (Wonder Pods) – the VR experience presented on Sony Interactive Entertainment (SIE) Playstation VR head-mounted displays (HMDs). The concept the closest seen to being a ‘virtual-planetarium’ experience, constructed by Konica Minolta Planetarium Corporation.

From those commentators entrenched outside of the out-of-home entertainment business, we have seen some wild and contradictory statements regarding the perceived impact of this business on the application of their hopes for VR – statements ranging from if VR is confined to public spaces there is a risk of stunting the growth of the medium, too comments that state to love to see these types of themed [VR] centers popping up around the world. A level of ignorance of the DOE market revealed in superficial research of the scene.

This confused speculation, illustrates the disquiet by some as their promised consumer sector slows, in the shadow of the growth (and revenue generating) out-of-home adoption; best illustrated by the growing numbers of consumer platforms pivoting to destination application. Along with HTC, we see OSVR (The VOID, Zero Latency) and StarVR (IMAX VR) deployment in VR arcade settings; it was recently announced in Japan of the new Virtual Gate platform developed by Techno Blood; allowing VR content to be enjoyed at the countries host of Internet Cafes, the platform partnered with the once consumer facing FOVE eye-tracked HMD – already operational at 33 net cafes in the country.

The commercial entertainment industry has proven an uncomfortable enigma to many that had previously invested in a promised consumer approach to VR. To educate and promote, the Digital Out-of-Home Entertainment (DOE) sector has invested in a unique conference in September, partly supported by my consultancy (KWP) and a major exhibition organizer. Based in Las Vegas, the Future of Immersive Leisure convention will bring together operators of the latest immersive entertainment technology, as well as developers of the hardware, and investors shaping the latest developers.

This new event will be the launch-pad where several new projects will reveal their thinking behind entering the commercial entertainment against previous interest in consumer investment. It is the ability to have direct access to the revenue stream, and a believable business model that has drawn both established operations and new start-ups to the DOE business for VR. Expect reports on the build-up to this event and industry developments in following columns.

June 9, 2017

The Virtual Arena: From Silver Screen to Silicon Dreams! (Pt 1)

With the Digital Out-of-Home entertainment (DOE) applications of virtual reality (VR) gaining momentum, along with the announcement of more VR arcades scheduled to open, developments in the serious business opportunities for VR have started to galvanize. In this two-part feature, industry specialist Kevin Williams looks at the continuing impact that the movie business aligned with prominent intellectual properties (IP) have in steer new commercial entertainment VR business.

The movie theater business is an industry that has started to play a crucial role in shaping the penetration of commercial entertainment VR systems. Beyond the more pedestrian approach of taking existing VR consumer content and representing it for commercial (pay-to-play) utilisation. Or the rarefied atmosphere of multi-million dollar contracts to create super-charged theme park attractions. The multiplex lobby has become the new crucible for the VR innovation

The film industry, and especially the movie theatre owners have started to see a stagnation in ticket sales, and have been active in trying to invigorate the guest experience beyond traditional approaches. What has been called ‘Lobby Entertainment’ has seen serious investment with VR deployed as a promotional and entertainment delivery platform. While the cinema sector has invested in improving the movie going experience, trying to compete with the explosion in immersive technology such as VR and interactive attractions.

The hopes for greater pixel density on future iterations of consumer VR head-sets are placed into stark comparison with the development in the planetarium business with the latest 8K projection systems. Industry leaders such as E&S, presenting their latest ‘True8K’ offering, an 8,000-pixel resolution stated to represent some 50 million unique pixels across their planetarium system. The immersive element of full-dome and planetarium projected experiences, an aspect that conventional VR head-mounted displays have yet to emulate. But even with this, at the recent Immersive Media Entertainment, Research, Science & Arts (IMERSA), a crucial champion of digital experiences for education and entertainment in planetariums, schools, museums and attractions, VR has started to gain traction as a medium in this sector.

The growth in interest was revealed during the National Theater Owner Industry’s annual convention in Las Vegas. CinemaCon 2017 proving a star-studded event for the promotion of the seasons major blockbuster movie releases. But behind the glitter, the cinema owners are faced with the reality to increase the guests dwell time within the movie-going experience, and along with turning to increased investment in the movie watching environment with 4D motion seating and increased presentational medium as seen with the development of the new three-screen panoramic theatrical systems, such as the Barco Escape; but the industry also evaluates new VR based ‘Lobby Entertainment’.

One exhibitor at CinemaCon that was heavily promoting VR was CJ 4DPLEX, the company has been involved in many prominent installations of their 4DX motion effects cinema seating system. Incorporating motion, spritzers and physical effects, combined with VR experiences. Most notably seen dominating the Samsung Gear VR Theater booth at CES. That theater seating approach to VR is part of CJ’s investment into the technology – at CinemaCon the company demonstrated their 4DX VR initiate, that sees the mobile VR (Samsung Gear VR) platform paired with their effects seats solution.

Fighting for the attention of the audience using this new technology has previously seen VR deployed in lobbies as a free-to-experience promotional tool. Taking their effects seat system outside of the theatre, and veteran manufacture MediaMation have launched their ‘MX4D VR Lobby POD’ – the two-rider, mobileVR equipped platform seen to promote the Coco-Cola Company both at IAAPA, CinemaCon and also at the International Cinema Technology Association (ICTA) event – the POD’s targeted for the lobbies of prominent cinema locations, offering an eye-catching and all important experimental marketing tool.

Many cinemas have installed pop-up promotional attractions to showcase coming feature films using VR enclosures, and several developers and producers have also started to get in on the act of presenting “experiential branding”. One such entrant was AMD’s Radeon Technologies Group (RTG) who partnered with Indian based Arka Media Works, to promote the upcoming Baahubali The Conclusion, Indian motion picture. Using their new VR capture camera, (the bb360cc), to create the fully immersive promotional VR experience, called The Sword of Baahubali – shown to movie-goers in lobby based pop-up VR experiences. Something VRFocus reported on late last year.

It is this continuous fight to create the most compelling VR promotion experience to help sell the Summers blockbusters that was represented on and off the show floor – Universal Pictures and IMAX during CinemaCon’17, presented the spectacular The Mummy Zero Gravity Stunt VR Experience. Seeing the installation, a ten-seat, 10-minute VR experience using the Oculus Rift HMD platform and Positron’s ‘Voyager’ full-motion pod seating, incorporating haptic feedback. The free pop-up promotion being installed at selected flagship venues as a major marketing experience to launch a vital property.

IMAX Corporations investment in VR has moved beyond using it as mere Pop-up promotion or ‘Lobby Entertainment’, the company board has invested heavily to develop their own estimations of what is needed create a chain of VR Arcade properties based on their movie experience – seen as a possible companion to the cinema visit, hoping to cement their future movie business. The first IMAX VR “pilot VR center” concept was opened in Los Angeles at the end of 2016, and based on initial reactions (with a reported some 20,000 visitations since the sites opening) has ramped-up development. Their second VR center opening in New York at the end of May, part of the exiting AMC Kips Bay 15 cinema, with a schedule to open additional sites in Manchester, UK, Shanghai and Japan. The concept visualized as an additional revenue component to an established cinema site, a rethinking of the traditional “arcade room” once seen at theaters.

https://www.youtube.com/watch?v=sX6j88BPopg

With their movie industry clout, IMAX has been able to establish partnerships with leading movie studios towards creating exclusive content that will populate the high-end VR establishment. IMAX recently announcing an agreement with Warner Bros. Home Entertainment, a co-financing and production agreement to develop and release three premium, interactive VR experiences based in Warner’s upcoming movie properties. The first announced being ‘Justice League VR’ – debuting exclusively at IMAX VR centers, before consideration of a ported to consumer VR hardware. This movie cross-over investment also seen with the StarBreeze Studio developed promotional VR game experience The Mummy Prodigium Strike (running on the wide-field of view StarVR headset), installed in the IMAX VR site as an early access content.

Other major cinema chain operators have started their own moves in this direction – much of the investment seen coming from the vast Chinese cinema sector, the conglomerate Dalian Wanda having developed their Wanda VR concept placing the latest Chinese DOE VR hardware in their own ‘Lobby Entertainment’ presentation. A move that is expected to be replicated across their growing movie theatre empire, building on the 2016 announcement that Odeon and UCI Cinema Group had been acquired by AMC Entertainment group (part of the Dalian Wanda operation) for an estimated $1.2bn.

With the ability to offer the best platform for the promotion of influential movie properties, the industry has turned from the restrictions of a consumer VR release and looked at using the latest immersive entertainment technology to promote their properties. Warner Bros., 20th Century Fox, MGM, Westfield, Bold Capital Partners and film giant Steven Spielberg recently revealed as first round investors in the VR developer Dreamscape Immersive with ambitious VR plans to enter the DOE sector with unique virtual attractions. Other new entrants into the VR attraction / IP sector expected to reveal themselves in the coming months.

Come back at the same time next week for part two, continuing this exclusive coverage of the DOE sector.

May 5, 2017

The Virtual Arena: The Growing VR Out-of-Home Entertainment Dimension – Part 3

In the third and final part of this feature series, Kevin Williams concludes his coverage of the development in the virtual reality (VR) industry’s involvement in the Digital Out-of-Home Entertainment (DOE) sector. Ending with coverage of the recent developments in the UK, America and the interest from the games industry.

Moving beyond the UAE (discussed in part two), and the UK theme park and attraction market has invested heavily in being first to embrace “VR Ride Attraction” and “VR Dark Ride” attractions. Premier venue Thorpe Park recently relaunched the Derren Brown’s Ghost Train: Rise of the Demon VR experience, comprising fright elements and unique HTC powered VR elements. The venue part of the major Merlin Entertainment empire, the company also owning the Madame Tussauds franchise, and who have investment in the Ghostbusters Dimension attraction, developed by the The VOID, building on their physical space “hyper-reality” VR platform.

Along with the first New York facility, a second version of the site was opened in Dubai – a third site was also opened in their company’s home state of Utah, and along with running the Ghostbusters experience is being used to present their latest backpack and head-mounted display (HMD) platform with further games planned. The new executive structure within The VOID has revealed a new roll out plan for their location-based aspirations. Though still no word of the schedule on the first Chinese openings.

Retail VR & Theme Park Entertainment

A term that is not in general usage outside the commercial scene is Retail-tainment, defined as the use of entertainment and attraction elements to increase the dwell time of patrons in retail establishments. Where once the arcade was a popular component in many a shopping mall, amusement in most cases has been replaced by cinema multiplexes as an entertainment hub. England saw one of the first VR pop-up entertainment installations in the South London Whitgift shopping center. The temporary operation run by Sol VR London and running Chinese VR entertainment pieces from Movie Power. The spread of pop-up VR entertainment installations in malls seen as far afield as a Prague (Czechoslovakia) shopping mall running a 4D motion seat system and Ocululs VR DK2 headsets.

We have seen some retail venues incorporate directly an entertainment approach using VR technology, Samsung, no stranger to VR technology, are planning to embrace this approach, with plans to open an ‘Experience Store’ in Canada, an 21,000-square foot, two-story, facility that will include an ‘Interactive Zone’ including VR based attractions employed as demonstrators too interested customers. Building on that used by Samsung at other pop-up exhibitions promoting the company.

Regarding retail units in the West comprising more permanent VR entertainment experiences, generally referred to as “VR Arcades” – UK facilities have been opened in Leeds, and more recently in Birmingham saw the opening of Virtual X, the first VR arcade facility opened in the area. Sources have also revealed that along with the pop-up VR attractions, the UK capital London is about to see the opening of at least three VR Arcade and full VR Park installations.

Across the water, and North America has seen investment in this approach with the California seeing the opening of the first IMAX VR venue, part of the initiative by the film and cinema corporation to embrace this new entertainment media, offering their take on the “VR Arcades”, utilizing both HTC and StarVR head-mounts. Supporting this effort, IMAX and Warner Bros., have partnering to develop and deliver premium VR experiences for the out-of-home scene, including the support of the new venue; with the corporation confirming plans to open five more centers in New York City, California, the UK and Shanghai over the next few months. While Canadian “VR Arcades” chain CTRL-V was also linked to media stories surrounding their plans to expand from their first flagship location.

The concept of VR amusement ad attractions, and the whole aspect of out-of-home entertainment has gained momentum in the thinking of once consumer facing corporations. This was best illustrated at the recent VR World Congress in Bristol – along with the consumer game developments, and investment into new technology, the approach of DOE business was championed by event sponsor AMD, who invited on stage companies like MK2 VR from France, operator of a Europe’s largest permanent VR virtual reality facility in Paris; and Chinese based SoReal venue, developed by SLE who have created a unique VR Park operation with seated motion VR simulators and VR backpack game experiences.

Also, VR World Congress saw a local executive of HTC revealing the investment they have made into the ‘Viveport Arcade’ platform supporting the new VR arcade operator landscape, targeting to become the world’s largest platform for this emerging scene. The conference was kicked off by a far-reaching presentation from KWP, focusing on the opportunity that the Out-of-Home entertainment market has for those wondering on the viability of conventional consumer VR investment.

VR Gaming Enters the Fray

The way that VR entertainment systems could find their way into commercial venues has also taken on a new dimension with the land-based casino and gaming industry investment in deploying “VR Enclosures” systems to appeal to the Millennial audience visiting their sites, but not interested in the conventional table games. The inclusion of eSports has been enhanced by the consideration of adding a VR element to their activities. Companies such as MediaMation, VRStudio, and the developers of the Holocube, are just some of those involved with the deployment of their VR technology into casinos, and extensive testing of this approach is ongoing.

The recent VR / AR Gambling convention in Prague, marked the first dedicated conference run by specialist from the online and land-based casino industry, covering the impacts issues and opportunities for this technology in their business. And a second major exhibition in the United States (GiGse) late this month will see further discussion of this business pivot for the gaming industry, led by a presentation by KWP, concerning the VR promotional, operational and content development in the gambling and skill gaming sector.

Much of the investment and future development across the international scene will be presented in a dedicated convention, schedule for September in Las Vegas. The Future of Immersive Leisure (FOIL) conference will be gathering speakers from the core businesses leading the DOE market regarding immersive technology ranging from VR and AR, but also including the new disciplines of 3D projection mapping, and digital display immersion (VRFocus one of the media partners for the event). This first true B2B gathering is expected to offer a true snapshot on the emergence of this scene as a dominant player regarding driving the next phase of innovation in this technology as the consumer side of the sector restructures business plans.

As mentioned we will have more about FOIL in the coming months. As always for more information about any of the above you can reach Kevin Williams at kwp@thestingerreport.com.

April 28, 2017

The Virtual Arena: The Growing VR Out-of-Home Entertainment Dimension – Part 2

In the second part of his three-part feature, Kevin Williams continues his coverage of the development in the VR industries involvement in the Digital Out-of-Home Entertainment (DOE) sector. In this report looking at the American, Japanese and Dubai amusement trades interest in the technology. (You can find Part 1 here.)

Amusement & Attraction Embraces VR

Moving to the Western territories, and the American amusement trade had a major exhibition in Dallas during March; the Amusement Expo saw the usual gathering of traditional amusement pieces, but also new virtual reality (VR) investment. Previously mentioned Universal Sales (UNIS) also made the trip to the American event to show their OMNI Arena VR platform.

This was also held in partnership with the Laser Tag Convention, and one of the new VR systems being presented offers an approach likened to “VR Lasertag”, Zero Latency. The world’s first free-roaming, warehouse-scale, multiple player VR game arenas, (using VR back-packs to create the Arena-Scale experience). Currently successfully in operation on four continents, while seeking to announce its first signing in the UAE. And one of the first commercial versions of the Arena-Scale experience from the company was in Japan, installed in the SEGA JOYPOLIS facility.

Beyond the US shores, the Japanese amusement sector has started to invest in VR initiatives placing investment towards VR as a major component in future expansion. During February’s major Japanese amusement trade event, major corporation BANDAI NAMCO Entertainment revealed that following a VR experimental location, the company would be opening a new and larger version of their VR ZONE in Tokyo. The facility will again be a temportay operation (opening in April and closing in October 2017), the facility designed to house VR attractions specially created by BANDAI NAMCO building on their amusement development skills marrying the latest VR technology.

Other Japanese arcade operators such as TAITO and Capcom revealed that they would be installing the VR Game Stage, powered by HTC hardware. HTC supporting the use of consumer content able to be legally used in commercial entertainment venues through the Viveport Arcade commercial subscription platform for China, and currently on test in Europe and the USA. A similar solution is planned from Valve for SteamVR – while Oculus VR stays opposed to any commercial usage (not prepared at this point to pivot).

But the big development, missed by many in the media was the announcement and reveal of Koei Tecmo, launching their ‘VR Sense’, an experience capsule using a Sony PSVR headset and Move controller (powered by an internal Playstation 4 Pro system). This system was the advance guard on the major announcement that Sony Interactive Entertainment would be creating a specific division to roll out their PSVR platform into the location-based (out-of-home entertainment) sector in several territories. The ultimate example of the pivoting of the consumer approach to VR into the commercial entertainment arena.

Dubai Amusement and Leisure Industry VR Aspirations

Another territory that is embracing the opportunity of deploying DOE VR platforms is the United Arab Emirates (UAE) market, a sector that has seen an incredible investment in theme parks and leisure entertainment venues for their diverse audience. Taking place at the Dubai Entertainment, Amusement and Leisure (DEAL) expo recently, prominent amusement and attraction distributor in the UAE market, gathered the latest new developments to their booth. Veteran distributor and developer ASI showed the Holocube – the multiple enclosure VR game system using the HTC Vive and offering a unique gun interface experience (winner of the Silver Virtual Reality Game BOSA award 2017), and categorized as a “VR Enclosures” approach.

Also on the ASI booth was the WePlayVR system from developers AiSolve, running the VR Backpack experience called ‘The Mayan Adventure’. Also shown was the Yotto Group “VR Game Platform” EXOPLANE an immersive paraglider experience. At the Dubai exhibition, another major distributor in the territory supporting family entertainment center businesses is Warehouse of Games (WOG), the company had on their booth the local developer NUAT’s ‘The VR Cube’ another “VR Enclosures” approach. DEAL exhibitor FUNCO – Fun Entertainment Company, a prominent developer of turn-key solutions for operators wanting to open entertainment centers, partnered with Chinese VR Park developer LEKE VR, showing their full selection of “VR Game Platform” units that were seen foot-foot from the Chinese trade show premier.

Away from the major distributors, several standalone exhibitors showed VR aspirations. These included a “VR Ride Attraction” from Turkish developer AMEGA Entertainment – Cinecoaster 360 VR. This multi-directional motion XD cinema system using mobileVR headsets. Or exhibitor DOF Robotics who showed their HURRICANE 360 VR – a extreme motion platform system using mobileVR systems to represent the virtual experience, (the system a Bronze Virtual Reality Game BOSA award 2017).

Reflecting the interest in the territory to embrace VR in all its facets in the DOE sector, the local developer ImSim, demonstrated a 3DOF racing cockpit with force feedback and a power VR component. Many companies in the West have invested in motor sports network simulator (“Race Room”) ventures – and VR technology seen as a possible replacement to conventional flat screen visualization. American manufacturer CXC Simulations, is another name in this scene, having recently installed a “Race Room” at the Andretti Indoor Karking location in Marrietta. The venue running their latest CXC Motion Pro II VR system, the only VR simulator of its kind in commercial operation in the United States

Returning to the investment made in the UAE market, facilities such as the brand-new Hub Zero have added a major VR element to their interactive entertainment. The wireless multiplayer VR attraction was developed for the facility by VRStudio developer of the VRcade platform (winner of the Gold Virtual Reality Game BOSA award 2017). A leading global VR technology company, located in 11 countries, delivering the first truly wireless, full-range-of-motion, multi-participant, immersive experiences for commercial enterprises.

VRStudio has taken their wireless head-mounted experience into the realms of “VR Dark Ride”. Signing major theme park partnerships with Universal Orlando and most recently with Knott’s Berry Farm and parent company, Cedar Fair – towards opening in South California a specialized VR experience at the park.

The concluding feature covering recent developments in the UK, America and the interest from the Gaming industry on VR based Out-of-Home entertainment, follows shortly.

April 21, 2017

The Virtual Arena: The Growing VR Out-of-Home Entertainment Dimension – Part 1

In a three-part feature, Kevin Williams continues his coverage of the development in the VR industries involvement in the Digital Out-of-Home Entertainment (DOE) sector. This first part looking at the major Chinese exhibition and new developments on display.

It has been an incredibly busy time for the immersive entertainment sector focused on Out-of-Home experiences, an industry embracing the utilization of virtual and augmented reality technology at a speed that seems to have surpassed the noticeable slow-down in the consumer adoption of the technology. This slow-down has seen some investment and developers consider a new term in their vocabulary – “pivot”.

During recent meeting and conference events, the term “pivot” has been bandied around to describe moves by corporations and executives towards repurposing their business from previous aspirations in the consumer entertainment scene and re-organize to develop for the Digital Out-of-Home Entertainment (DOE) sector. This has been best illustrated by the restructuring that Virtuix undertook with their Omni-directional treadmill. The company now in partnership with amusement machine powerhouse Universal Space (UNIS), having launched their new OMNI Arena competitive virtual realtiy (VR) attraction.

Over the last few months of the beginning of 2017, our consultancy (KWP) specializing in the DOE sector has been rushed off its feet attending conventions and conferences as a speaker and observer on the latest inroads that are being made in the utilization of VR tech into the Out-of-Home scene, and I have attempted to encapsulate the key developments seen across the global business.

Asia’s Focus On Phase Four

The Chinese market has become a firebrand of new development in VR, and has also been the powerhouse for the investment and development of its application in the DOE sector – one of the major trade conventions that has embraced this new development is the Asia Amusement & Attractions Expo (AAA) taking place in Guangdong in the vast Import and Export Fair Pazhou Complex (Asia’s largest exhibition hall). This year’s event included the Asia VR&AR Fair & Summit, a dedicated section of the show for the VR community embracing the commercial entertainment scene – and the organizers invited experts from home and abroad introduced the latest technologies and achievement, KWP was one of those invited to present to the assembled audience.

Asia VR&AR Fair & Summit - Photo By Kevin Williams On the Show halls of both AAA and VR&AR, the exhibition booths were crammed with new VR offerings that moved to a new phase of investment, best described as a phase four for the market, moving beyond the original egg-shaped 9D VR film experiences, and the early VR arcade investment, and now to a brand-new approach to the business. Even the established amusement trade has been forced to consider deploying a VR solution in their venues. One of the large Asian amusement manufacturers and distributors, WAHLAP Technologies underlined their investment in this sector, by partnering with prominent VR Park developer Movie Power; the company showing a selection of the systems they field to VR Parks, including a unique HTC based VR boxing game called Kuntun Fight. Movie Power had an extensive booth of their own on the show floor, showing their latest networked driving simulator VR experience.

Kuntun Fight / WAHLAP Technologies - Photo by Kevin Williams Movie Power - Photo by Kevin Williams

Another major amusement player in the territory is Universal Space (UNIS), along with a wide slew of first and third party amusement machines on display the company promoted their association with Virtuix, the developer of the VR motion platform, having partnered with Fun VR Tech, (a newly created division of Universal Space) to distribute the OMNI Arena internationally; one of the best examples of ‘pivoting’ business aspirations from consumer aspirations. The OMNI Arena is a winner of an Honourable Mention in the Virtual Reality Game BOSA awards 2017. The BOSA Winners covers categories of Video, Videmption, Redemption and recently VR / Motion simulation, and is judged by trade executives representing leading online amusement distributor BMI Worldwide Gaming and DOE news services Arcade Heroes and The Stinger Report (owned by KWP).
Omni Arena At Asia VR&AR Fair - Photo By Kevin Williams A consolidation has been achieved in the Chinese VR arcade scene, with investment consolidated into successful VR business, while a few scruple less operator have started to fall by the wayside. We have seen an evolution in the business approach seeing VR arcades (known as “VR Parks” in China), the business has seen major investment as the market has solidified into franchise operations, and revenue sharing opportunities.

At the Guangdong show the leading developers of these VR Park operations showed their latest packages. NINED is one of the first developers to make headway in this approach, and along with their HTC powered five-player standing VR system Platoon – or the unusual UFO inspired VR motion capsule experience; the company show the KAT Walk system, a VR walking simulator using a special harness that allows the player to navigate the virtual environment running the networked shooter V-War – the KAT platform another example of a pivoting business approach.

Platoon - Photo By Kevin Williams — Platoon

Another leading light in the VR Park scene is LEKE VR – the company showed at AAA their considerable range of specially presented VR amusement pieces to be placed in their own or franchise facilities, the company involved with over three thousand Chinese based ventures. Along with standing VR experience the company also showed a network VR racing game experience called Extreme Racing VR. LEKE VR also had platforms aimed at younger players. This approach was also seen from Super Captain, the franchise operation aiming at players between 5 to 12 years of age, even having a special children’s VR viewing platform Super Family –a cartoon mascot styled kiosk with a special viewing unit held to the face.

As seen with VR roller-coasters in the West the utilization of existing attractions, with an added VR element has gained much interest, and new investment in this approach was seen on the Chinese show floor. VR attractions on display included from Hirain their 720° Rider a multi-dimensional VR motion platform comprising three-seater spinning the riders corresponding to a unique VR ride film. Veteran Chinese ride manufacturer Golden Dragon had their Hero Dream, a robotic arm two-seat VR platform. But a new approach was revealed from C&Q Amusement, the company taking their Spin Zone bumper-car platform, retrofitted with specially tracked VR head-mount game experience. The first of its kind VR bumper-car experience using a unique multiple tracking arena-scale solution. C&Q working on a flat-ride variant of the VR platform, offering a retrofit solution to established attractions.

That’s all for this week, but come back next Friday at the same time for part two, as Kevin Williams covers the American, Japanese and Dubai amusement trades’ interest in VR based Out-of-Home technology.

February 21, 2017

The Virtual Arena: Jackpot! VR Slot Machines

In his latest column for VRFocus leading exponent of the out-of-home entertainment sector, Kevin Williams, reports back from Europe’s largest gambling, online gaming and casino convention. Exclusively revealing the impact that virtual reality (VR) is having on is industry that has a serious interest in the re-emergence of this technology.

We had only just visited the London’s ExCel convention center for our report on the massive education show (BETT), but jump forward a few weeks and we find ourselves back at ExCel. Rather than one hall of the vast convention center, instead we see nearly all the North and South halls of the exhibition facility turned over to the 23rd International Casino Expo (ICE) Total Gaming expo.

IMG_20170208_160212

For those not familiar with the gaming industry, it covers a vast number of different elements, and seeing incredible year-on-year profitability. The ICE event includes exhibitors interested in “bricks and mortar” gaming facilities, like casinos, licensed-betting offices and adult gaming arcades (land-based) – while the rest of the massive exhibition covers online betting, gaming and gambling (iGaming), sports betting, gaming machines and the services that support all of them.

IMG_20170207_121301

The need by the gaming facility business to attract younger visitors has seen great investment in skill-based gaming (defined as ‘Skill Gaming’); while at the same time the great profits coming from online gaming services is looking to be secured with the use of new technology – both elements looking at VR as a possible opportunity.

Compared to the major interest that VR engender back in 2016, this year’s show seemed to offer a glimpse of the reality of the love affair with the hyperbole of what VR could offer, and wake-up to the reality of what can be achieved with the available hardware. It was obvious that ICE represented a show of two halves – an analogy any good sports enthusiast would recognize.

One side of the application of VR into the gaming scene we see its use as a promotional and marketing tool. One of those exhibitors that dedicated an area of their big booth to a VR component was BetConstruct, provider of online and land-based gaming solutions. The company had a “Virtual Reality Gaming” area offering two Oculus Rift (CV1) with both TOUCH and game pad enabled demonstrations. The demo offering the ability to navigate round a virtual casino.

IMG_20170207_121628

Another company looking at promoting a VR casino experience approach was Innovecs Gaming a company known for working with leading Intellectual Properties for application in gaming, came to the London show with a HTC Vive demonstrating their interpretation of how VR could be used as a compelling gaming experience. The company’s Vice President observing that while current consumer VR hardware is not suitable for land-based application, there were opportunities for online gaming experience supporting the mobile VR installed base.

Another company that favored the HTC Vive VR platform for demonstration was International Game Technology (IGT), the influential gaming machine manufactures vast booth had a dedicated enclosure with two HTC Vive, running the game Siege VR. Attendees to the show booked for their chance to experience the castle battlements bow and arrows siege defense game, a packed booth indicating interest in the demo.

IMG_20170207_125203

IMG_20170207_125211

Speaking with a IGT representative confirmed the game was being used as a presentation of their intentions towards creating skill-based gaming experiences that are totally immersive, testing the water regarding the trade interest.

Siege VR was originated by Sixense to demo their then STEM VR in 2014. This ICE demonstration had been commissioned exclusively by IGT, now running on HTC Vive’s rather than converted Oculus headsets. There are no plans for this to be released as a full game however, used wholly as a promotional tool, (there is also no news of the situation with Sixense after recent announcements of further delays).

VR offered a unique tool to present a message to visitors to the myriad big presentation; exhibitor Evolution Gaming, came to ICE with a portion of their booth turned over to several Samsung Gear VR used as a promotional tool offering a 360° visualization of the company’s studios and a behind the scenes view of their land-based live dealer games and interactive online casino experiences.

IMG_20170207_124918

Several ICE exhibition exhibitors just placed VR promotions on their booth to draw attention; Processing.com (a payment solutions specialist) had F1 racing action competitions, using CV1’s in a fast pace racing simulator promotion.

IMG_20170207_122552

The financial muscle of the international gaming industry has shown a strong VR interest; exhibitors from this territory included Digital Graphix Hub Technologies (based in the Philippines had many examples of their mobile VR setup running demonstrations of their envisaged online VR games.

IMG_20170207_122617

International exhibitor Global Bet presented their Virtual Sports platform, offering the opportunity for punters to experience their Virtual Sports events with a 360° presentation placing the guest in the heart of the action. Sadly, the CV1 seated presentation of their platform at ICE was not working.

IMG_20170207_124136

IMG_20170207_124216

A surprise appearance on the vast Novomatic electronic gaming machine giants’ booth was the inclusion of a Sony PSVR experience –a themed area on the booth branded Barcade, visitors trying their skills on old school arcade games recreated in VR, run as a competitive promotion on their booth.

IMG_20170207_145941

IMG_20170207_145929

Another surprise appearance at ICE was on the NSoft booth, known for software solutions for the gaming and betting sector (such as Sportsbooks), the company demonstrated the concept of using Augmented Reality (AR) to facilitate gaming with a Microsoft Hololens deployed into action representing virtual stats in the real-world.

IMG_20170207_121348

Beyond the use of VR as a demonstration / promotional tool of aspirations; on the other half of VR’s application, it was harder to find actual business initiatives towards building a revenue stream, and opening the door on the proposed opportunity that VR represents for the casino sector. Of those showing actual products.

The World’s largest online casino operator NetEnt followed on from their mobile VR Jack and the Beanstalk cartoon slot proof of concept in 2016, to launch at this year’s ICE the “first real-money virtual reality slot game”, to be delivered through their existing NetEnt Casino Module. The new game called Gonzo’s Quest VR has the player in a vibrant virtual environment and fun characters while playing virtual slots. On the booth players used the Samsung Gear VR to play the virtual slots, but the game is agnostic of mobile VR platform. The developers at NetEnt believe that VR has a given place in the future of online gaming, and feel that WebVR technology will mature enough to offer basic support for VR game-play by 2018.

IMG_20170207_133036

IMG_20170207_132947

At ICE 2017 exhibitor JoinGames Malta, and VR partners Parallel66 created a VR themed area on their stand for the global reveal their first VR iGame: Kleopatra VR. They feel the game is the first fully interactive slot game experience for mobile VR. The team behind the product will launch the game as a VR app for smartphones in Q2 2017, allowing players to combine any VR Head Mounted Display (HMD) with their existing smartphone to enter a mystical Egypt-themed playing environment to move around, explore and play a unique 3D slot-game for real money.

IMG_20170207_131718

IMG_20170207_131703

Considering the level of interest generated from last year’s ICE event towards VR, this year saw a greater penetration of VR hardware examples, but a need to find a “hook” to hang their efforts upon. As one well respected VR developer in the iGaming scene commented during the show. For demonstrations, they were happy to use CV1’s and Samsung Gear VR’s, but to generate a revenue, the reality was that until something like a universal WebVR platform is established (through solutions possibly like Googles Daydream) then there was still a vacuum regarding generating revenue while supplying a deliverable to the paying audience.

We wait to see if NetEnt, and the industry in general, will be the first to find that magical solution to profitability in VR.