Subscription-based VR Fitness App ‘Supernatural’ Coming to Quest Today

Within, the immersive studio known for some of VR’s highest quality experiences, unveiled a new fitness app for Oculus Quest earlier this month that aims to give you a fun, fast, and intuitive cardio workout in VR. Starting today you’ll be able to dive right in.

Update (April 23rd, 2020): Supernatural is set to go live today on the Oculus Store for Quest at 10 AM PT (local time here). The first 30 days is free, however afterwards ‘founding members’ will pay a monthly fee of $19. We haven’t had a chance to go hands-on with Supernatural yet, but we’ll report back soon.

There’s still no word on when a version for Rift, or other PC VR headsets is due to arrive. The original article announcing Supernatural follows below:

Original Article (April 13th, 2020): Called Supernatural, the subscription-based app is said to launch on Quest April 23rd. The subscription includes new workouts published daily at a discounted introductory rate of $19 per month, as well as a free trial to see if its right for you.

And what exactly do you get with this ‘virtual gym’ membership? According to an Oculus blog post, Supernatural melds together VR rhythm game mechanics, daily personalized full-body workouts, expert coaching from real-world trainers, and music from popular artists, all of which is set in variety of photorealistic landscapes.

The promo video certainly gives off Beat Saber vibes, albeit with a decidedly less of a ‘European discotheque’ aesthetic and more of a crunchy granola feel from some Star Trekian future.

“When my Within co-founder Aaron Koblin and I realized we had developed dad-bods without having any actual children, we knew we had to do something,” Within co-founder Chris Milk says. “Neither one of us was fond of or good at sticking with exercise. We disliked the rigmarole of going to the gym and didn’t think the home fitness solutions out there were particularly fun. We wanted the benefits of exercising regularly, but we didn’t enjoy the short-term activity necessary to get those long-term results.”

The team hasn’t revealed what musical artists will be featured, however Milk says its will feature “some of the biggest artists from the major record labels, and amazing artists from indie labels as well.”

Supernatural is said to arrive with a companion app, which lets you pair your heart rate monitor, schedule workouts, and follow friends.

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How VR Has Changed Sundance Forever

Sam Macaroni, a virtual reality (VR) film maker who’s previous experience include projects with Jaunt VR and Disney, recently took part in a panel at the Sundance Film Festival 2017. While Macaroni’s new projects, currently in development at his own studio, Thundership, remain a closely guarded secret, he was more than happy to discuss his appearance and the lessons learned with VRFocus.

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Despite being deeply involved in a career that is still to find meaning amongst a core demographic, Macaroni is not one to shy away from respecting his peers when deserved. In the interview below, Macaroni discusses the panel he appeared on at the Sundance Film Festival 2017, the noteworthy commentary of his fellow panellists and the affect VR is having on the annual motion-picture event.

VRFocus: You recently appeared on a panel at Sundance. Could you tell us about the theme of the panel and how it relates to your previous work?

Sam Macaroni [SM]: The panel was called “Creative Storytelling in VR” and was hosted by Nokia OZO. I was there to speak about innovation in VR. I spoke about some of the complicated rigs that I’ve built through my company Thundership in order to capture moving shots in my action films. I’m currently working on an action piece that uses four custom camera support rigs, a two-minute drone shot and multiple cuts. A year ago I would have called myself nuts, but it’s turning out pretty awesome. I’ve achieved some things that have never been done before.

VRFocus:Can you tell us who else appeared on the panel? Did you have any previous relationship with these speakers?

SM: Other panelists were Hal Kirkland (Kids), Josema Roig (The Argos File), Tim Dillon (Suicide Squad, Heroes), Melissa Painter (Heroes). The panel was hosted by OZO and moderated by Csilla Kozma from OZO. I had never met any of the panellists but I was impressed with all of them. After the panel I was talking with Kirkland who directed the OneRebublic VR experience for the song kids. He said, “The thing I like most about the panel was the diversity of the VR filmmakers and their approaches. Each of us came from such different backgrounds and are currently exploring unique sections of this new frontier, and yet we’re all united in the single minded purpose of pushing this medium as far as it can go.”

Likewise, Roig said, “it is an honor to be surrounded by creators that want to push the envelope, and are willing to fail miserably if need be. And it will need be. These are the good old days of VR, and they’ll look simpler one day… in the meantime there’s a good amount of “you can’t do that” and “hey y’all watch me.” I’m honored to be with these guys as part of the latter.”

Sundance 2017 'Creative Storytelling in VR' Panel

VRFocus: What were the key messages of the panel? Did you agree with the takeaway from other panelists?

SM: One thing that was stressed many times by all of us was that there are still no rules in VR. You hear people all the time say, ‘you can’t do this in VR, you can’t do that…’ but it’s way too early to have a VR rulebook. My rule is ‘try anything’. That’s not to say I don’t obsess and plan each shot carefully, but if I think something might make someone sick I’ll try to figure out why and find a solution that works. We need bold choices in VR in order to learn from each other. Roig directed Argos Files which won a Proto award last year. When I saw it, I was amazed because it’s a fast paced exciting piece filmed first person style and he’s moving the camera all over the place. I was thrilled and actually learned a lot from it.

VRFocus: Outside of the panel, was there any innovation in VR storytelling that caught your attention at Sundance?

SM: Going to Sundance this year was amazing because the VR buzz was overwhelming. Everywhere I went people we talking about it. The New Frontier program has grown to become a major presence at the festival in just a few short years. We really are at the beginning of a new media form. The morning that I showed up in Utah was the morning that the Academy Awards announced the nomination for the VR experience, Pearl. You can imagine how excited the VR crowd was. We were all clinking glasses, going: “We’re in! That’s it… you can’t ignore us now!”

One of the VR projects that caught my attention was Chris Milk’s Life Of Us experience. It blew my mind because you and a friend are in separate dark rooms and you both get strapped into HTC Vive headsets and are thrust into the experience together. Throughout the entire three minutes you can talk to one another as well as help each other through the adventure. When I took my headset off, I completely forgot I was standing in a dark room all by myself. I had just had this totally amazing shared experience with my friend.

Afterwards, I was talking to Milk about Life Of Us and I was telling him that he opened my mind to the fact that two people from different parts of the world could literally hang out in VR and go on an adventure together. VR doesn’t have to be a solitary experience, it can be shared in a really exciting way. He said that’s exactly what he was trying to do with the piece. I was really impressed.

Life of Us logo

VRFocus: VR is a very fast moving medium, and many are predicting a rapid increase in the quality of VR storytelling throughout 2017. What are your expectations for VR at Sundance next year?

SM: The New Frontier team is amazing and I expect big things from them next year. This year, they had a lot of installations that used VR, AR and also an interactive element. One piece put you in a room where amazing animations were projected onto the walls while actors interacted with them and told a spectacular story. It was truly VR without a headset.

While we’re still in the nascence of VR and headsets, we’re really talking about VR, AR and mixed reality. As technology evolves it opens up new way for consumers to enjoy immersive experiences. This opens up new avenues for IP owners, tech companies and illustrious filmmakers to jump in.

I think VR will be even bigger next year at Sundance as more and more storytellers experiment and create. Someone told me that when the New Frontiers first launched it was in a very tiny room. This year it was in a massive three-story building with lines outside while people tried to get in. Maybe ten years from now, you won’t even have to go to Sundance and brave the cold to be a part of it… after all, it is VR.

Film Maker Sam Macaroni: ‘VR doesn’t have to be a solitary experience, it can be shared in a really exciting way’

Virtual reality (VR) stands as a medium in its own right, but as a very modern technology it borrows a lot from the established convention of others. Like videogames before it, VR owes a great deal to motion-picture, and at the recent Sundance Film Festival 2017, VR film maker Sam Macaroni got to grips with an experience that showcased the potential of social VR bridging the gap between videogames and movies.

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The Sundance Film Festival is an annual showcase of the latest and greatest offered by the motion-picture industry. With a heavy independent production presence, Sundance Film Festival has seen the inclusion of VR works grow significantly over the past few years. This year however, the sheer quantity of VR content demonstrated that it’s not just futurists and gamers that are interested in the medium, but creators from many different fields.

Of all the pieces on show at the event, Macaroni makes note of the latest from Chris Milk. Macaroni has been responsible for a number of notable VR works himself, such as Wookie on Vacation and the popular Junkbots with Jaunt VR. Milk however, rose to fame very quickly thanks to a collaboration with musical artist Beck entitled Sound and Vision. Macaroni clearly has a great deal of respect for Milk as a peer.

“One of the VR projects that caught my attention was Chris Milk’s Life Of Us experience. It blew my mind because you and a friend are in separate dark rooms and you both get strapped into HTC Vive headsets and are thrust into the experience together,” stated Macaroni when discussing the experiences available at Sundance Film Festival 2017. “Throughout the entire three minutes you can talk to one another as well as help each other through the adventure. When I took my headset off, I completely forgot I was standing in a dark room all by myself. I had just had this totally amazing shared experience with my friend.”

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Life Of Us is a collaboration from Pharrell Williams and Megan Ellison, with Aaron Koblin and Milk, and is touted as the complete story of the evolution of life on Earth. No future release plans for the experience have yet been announced, though it’s likely that Milk’s Here Be Dragons will take the lead via the Within app currently available on VR head-mounted displays (HMDs).

“Afterwards, I was talking to Milk about Life Of Us and I was telling him that he opened my mind to the fact that two people from different parts of the world could literally hang out in VR and go on an adventure together. VR doesn’t have to be a solitary experience, it can be shared in a really exciting way. He said that’s exactly what he was trying to do with the piece. I was really impressed,” concluded Macaroni.

During Sundance Film Festival 2017, Macaroni appeared on a panel called ‘Creative Storytelling in VR’, hosted by Nokia OZO. VRFocus spoke with Macaroni about his experiences on this panel and the key takeaways for anyone looking to become a part of the rapidly growing VR storytelling field: the full interview will be available later this week.

United Nations’ Creative Director on VR as the Ultimate Empathy Machine

gabo-aroraGabo Arora founded the United Nations VR, and has directed some of the more well-known VR empathy experiences starting with Clouds Over Sidra in December 2014 in collaboration with Chris Milk’s VR production house Within. Milk first showed Clouds Over Sidra during Sundance 2015, and featured it prominently in his VR as the Ultimate Empathy Machine TED talk in March 2015, which popularized VR’s unique abilities for cultivating empathy.

I had a chance to catch up with Arora at Oculus’ VR for Good premiere party at Sundance where we talked about producing Clouds Over Sidra, his new Lightshed production company, and the importance of storytelling in creating VR empathy experiences.


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Arora’s work has been at cross section of storytelling and technology, and diplomacy and humanitarian efforts. He studied film in college, but was unable to launch a successful film career in Hollywood, and instead turned towards humanitarian work with NGOs after 9/11 and eventually with the United Nations in 2009. He used his creative sensibilities to move beyond written text reports, and look to the power of new media to tell humanitarian stories. He had some success with collaborating with social media sensation Humans of New York photographer Brandon Stanton by coordinating a 50-day global trip with in 2014 in order to raise awareness of millennium development goals. He proved the power of using emerging technology to promote humanitarian goals.

After he was introduced to Within’s Chris Milk in 2014, he gathered enough support to create a virtual reality lab at UN staring with creating an experience about the Syrian refugee crisis. Clouds Over Sidra was shot in two days in December 2014 at the Za’atari Refugee Camp, which had over 80,000 Syrian refugees. Arora wanted to focus on a day in the life of a 12-year old refugee, and collaborated with his UN contacts to find the young female protagonist named Sidra. Arora said that a big key to cultivating empathy in virtual reality is to focus on the common ordinary aspects of day-to-day living whether that’s eating a meal or preparing for school. While some of these scenes would seem like non-sequiturs in a 2D film, the sense of presence that’s cultivated in VR gives the feeling of being transported into their world and a feeling of being more connected to the place and story.

Arora acknowledges that merely showing suffering of others can have the opposite effect of cultivating empathy. He cites Susan Sontag’s Regarding the Pain of Others as a book that helped provide some guidelines for how to represent the pain of others. He’s aware that we can have a lustful relationship towards violence, and that there are risks of normalizing suffering can create an overwhelming sensory overload. He’s addresses some of Paul Bloom’s arguments in Against Empathy in that there’s a bias towards empathizing with people who look or act like you. If there’s too much of a difference, then it can be difficult to connect through on any common ground. This is a big reason why Arora has typically focused on finding ways of representing the moments of common humanity within the larger context of fleeing from war or coping with a spreading disease like Ebola.

Arora was able to show that Clouds Over Sidra was able to help the United Nations beat their projected fundraising goal of $2.3 billion dollars by raising over $3.8 billion, but he’s much more confident in showing the UNICEF’s numbers of being able to double face-to-face donations from 1 in 12 without VR to 1 in 6 with VR with an increase of 10% per donation. With these types of numbers, there’s been a bit of a gold rush for NGOs to start making VR experiences for a wide range of causes, but Arora cautions that not all have been successful because not all of them have had an emphasis on good storytelling or the technical expertise that he’s enjoyed with his collaborations with Within.

Hamlet on the Holodeck author Janet H. Murray recently echoed the importance of good storytelling in VR experiences by saying that “empathy in great literature or journalism comes from well-chosen and highly specific stories, insightful interpretation, and strong compositional skills within a mature medium of communication. A VR headset is not a mature medium — it is only a platform, and an unstable and uncomfortable one at that.” The storytelling conventions of VR are still emerging, and the early VR empathy pieces have been largely relying upon conventions of traditional filmmaking.

Arora admits that there’s a certain formulaic structure that most of these early VR empathy pieces have taken that rely upon voice over narration, but he says that he started to dial back the voice overs in his most recent piece The Ground Beneath Her. He says that his recent collaboration with Milk on the U2 Song for Someone music video showed him that there’s a lot that can be communicated without resorting to voice overs.

Murray argues that “VR is not a film to be watched but a virtual space to be visited and navigated through,” and she actually recommends “no voice-overs, no text overlays, no background music.” I’ve independently come to the same conclusion, and generally agree with this sentiment because most voice over narrations or translations feel scripted and stilted. They are also often recorded within a studio that doesn’t match the direct and reflected sounds of the physical locations that are shown, which creates a fidelity mismatch that can break presence and prevent me from feeling completely immersed within the soundscapes of another place.

I’ve found that the cinéma vérité approach of having authentic dialog spoken directly within a scene works really well, or that it works best if the audio is directing me to pay attention to specific aspects to the physical locations that are being shown. After watching all ten of the Oculus for Good pieces at Sundance, one of the most common things that I saw is not having the physical location match whatever is being talked about. Sometimes they’re interesting locations to look at, but it ends up putting the majority of storytelling responsibility within the audio. If the audio were to be taken away, then the visual storytelling isn’t strong enough to stand on it’s own.

6×9’s Francesca Panetta used audio tour guides as an inspiration for how to use audio in order to cultivate a deeper sense of presence within the physical location being shown. One live-action VR piece that does this really well was a cinéma vérité piece by Condition One called Fierce Compassion, which features an animal rights activist speaking on camera taking you on a guided tour through an open rescue as it’s happening. The live delivery of narration feels much more dynamic when it’s spoken within the moment, and feels much more satisfying than a scripted narration that’s written and recorded after the fact.

A challenging limitation to many NGO empathy pieces is that they often feature non-English speakers who need to be translated later by a translator who doesn’t always match the emotional authenticity and dynamic speaking style of the original speaker. Emotional authenticity and capturing a live performance are some key elements of what I’ve found makes a live-action VR experience so captivating, but it’s been rare to find that in VR productions so far. There are often big constraints of limited time and budgets, which means that most of them end up featuring voice over narratives after the fact since this is the easiest way of telling a more sophisticated story. This formula has proven to be successful for Arora’s empathy pieces so far, but it still feels like a hybrid between traditional filmmaking techniques and what virtual reality experiences will eventually move towards, which I think Murray quite presciently lays out in her piece about emerging immersive storyforms.

Arora’s work with the UN in collaboration with Within has inspired everyone from the New York Times VR to Oculus’s VR for Good program and HTC’s VR for Impact. It also inspired Chris Milk’s TED talk about VR as the “ultimate empathy machine”, which is a meme that has been cited on the Voices of VR podcast dozens of times.

But the film medium is also a powerful empathy machine as Arora cites Moonlight as a particularly powerful empathy piece that was released in 2016. Roger Ebert actually cited movies as the “most powerful empathy machine” during his Walk of Fame speech in 2005. He said:

We are born into a box of space and time. We are who and when and what we are and we’re going to be that person until we die. But if we remain only that person, we will never grow and we will never change and things will never get better.

Movies are the most powerful empathy machine in all the arts. When I go to a great movie I can live somebody else’s life for a while. I can walk in somebody else’s shoes. I can see what it feels like to be a member of a different gender, a different race, a different economic class, to live in a different time, to have a different belief.

This is a liberalizing influence on me. It gives me a broader mind. It helps me to join my family of men and women on this planet. It helps me to identify with them, so I’m not just stuck being myself, day after day.

The great movies enlarge us, they civilize us, they make us more decent people.

Ebert’s words about film as a powerful empathy machine as just as true today as when he said it in 2005. I do believe that virtual reality has the power to create an even deeper sense of embodied presence that can trigger mirror neurons, and may eventually prove to become the “ultimate empathy machine.” VR may also eventually allow us to virtually walk in someone else’s shoes to the point where our brains may not be able to tell the difference between what’s reality and what’s a simulation. But as Murray warns, “empathy is not something that automatically happens when a user puts on a headset.” It’s something that is accomplished through evolving narrative techniques to take full advantage of the unique affordances of VR, and at the end of the day will come down to good storytelling just like any other medium.


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Breathe Fire and Grab Monkeys with Your Friends in ‘Life of Us’

Breathe Fire and Grab Monkeys with Your Friends in ‘Life of Us’

“This is not a game, this is not a movie.”

The text floating in front of me before jumping into Life of Us made it abundantly clear that it knows what it is not from the get-go, but what is it? Part social experience, part evolution simulation, part wackadoo psychedelic freak-out joyride, Life of Us is charming, thought-provoking and just plain silly.

I had a chance to check out Life of Us at the Sundance Film Festival, and caught up with Within co-founder Aaron Koblin after my run through.

“We thought a lot about how to make a social experience that wasn’t a game, wasn’t a movie, you weren’t shooting anything, you were just sharing a social experience with someone else,” Koblin explains.

Life of Us takes you on a shared experience with up to three others through a comical evolutionary journey. Starting out as single-celled organisms and progressing through fish, lizard, pterodactyl, ape and finally human stages. Well, not really “finally” as there is a surprise at the end, but I won’t ruin it for you – let’s just say I hope you like grooving with lasers!

Since this is a social experience, you’ll be going through all these stages in tandem, talking and interacting with others along the way. There are vocal effects during each stage, so your voice is more watery and modulated during the fish scene, deep and powerful during the ape stage. Each stage also has a unique interactive element, so you can blow bubbles as a fish, flare your neck flaps as a lizard, breathe fire as a pterodactyl and so on. The pitch and timing of your voice affects how the effects are displayed, so high-pitched, quick noises produce lots of tiny bubbles, while deep, extended sounds create gigantic bubbles.

I particularly enjoyed my time in the ape stage when smaller monkeys would jump on me and ride along as I ran through the jungle. One of my little friends was riding on my forearm and I would reach over every now and again to ask if he was enjoying the ride and to feed him an imaginary snack. I called him Chester. As I was doing this, someone gently lifted the headphones off of my ears and whispered, “You can grab the monkeys.” Game changer! Using my other hand, I seized the little freeloader and tossed him into the wind! Sorry, Chester! He’s spry though, so I’m sure he’s fine.

Although a guided experience, you can interact with others not only through vocals, but also physically through actions such as popping the bubbles they blow or throwing biological goo at them.

As Koblin explains it, “We went into VR thinking real faces — real people — were the way to make the best connection – and we still think that’s powerful – but once we thought about connection with voice and movement, we said, ‘Forget about all that, we can make this crazy world as a social, connected system.’”

In order to make it accessible to everyone, Within kept the controls basic and minimal, focusing solely on the triggers and hand and head placement. The result is a very intuitive experience, and one that compels your motions, gait and movement as you switch from one creature to another. For example, I instantly started flapping my wings to stay aloft as I ran off a cliff and switched from the lizard to the pterodactyl, and when I switched into an ape, I took more of a squat, powerful stance. VR has an inherent transformative power, and nowhere is that more apparent than in Life of Us where you move between a half-dozen forms in the span of a few minutes.

Koblin admitted they still have some tweaking to do and they’re building out a few more features, but he also told us Life of Us will be available “soonish,” so you shouldn’t have to wait too long to grab those monkeys with your friends!

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Within and Fox Partner to Create VR Content, Spike Jonze to Co-Produce Original VR Film

Content distribution platform and VR studio Within is partnering up with FoxNext, a recently created immersive media division of 21st Century Fox. The new partnership is promising to “bring viewers a new slate of virtual reality experiences this year,” the first of which will be based on Fox’s Planet of the Apes franchise.

The first VR project, based on the dystopian sci-fi film, will be directed and produced by Within Founder and CEO Chris Milk. The creators say the project will utilize artificial intelligence to deliver a shared social experience that will be available on the Within app and across both VR and AR platforms.

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Image courtesy 21st Century Fox

Annapurna Pictures will also be partnering with Within and FoxNext to create an original VR film called I Remember You (working title). Milk is set to produce and direct the film, and develop alongside award-winning director Spike Jonze and Annapurna Pictures Founder Megan Ellison. The film will be available through Within, an app that is available on SteamVR for PC VR headsets and Oculus Home for Gear VR.

Annapurna’s VR titles have included Evolution of Verse, The Click Effect, and two upcoming projects Life of Us and Kathryn Bigelow’s The Protectors for National Geographic, both of which are currently at Sundance and will see a general release on the Within app in 2017.

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'Hello, Again' by Director Chris Milk is a Revolutionary Virtual Reality Concert Experience Featuring Beck

Within announced a $12.4m series A funding round last June, taking on a number of investors from established media including 21st Century Fox, Annapurna Pictures, Legendary Pictures, and Vice Media.

“Virtual reality is the next generation of entertainment and PLANET OF THE APES provides the perfect canvas to create a new kind of filmmaking experience that will further immerse fans into the franchise,” said Salil Mehta, President, FoxNext. “In partnership with visionary filmmakers like Chris, and companies like Within, Fox will continue to push the envelope to create immersive experiences that bring audiences into the action like never before.”

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Baobab Studios Raises $25 Million in New Funding Round

There isn’t a studio that can claim to be ‘The Pixar of VR’ just yet, but many heavy hitters in traditional media and tech are taking notice of the growth potential of animated films in VR, and specifically in Baobab Studios, the VR film studio known for animated shorts INVASION! and sequel ASTEROIDS!. Baobab today announced the close of $25 Million in Series B funding, bringing total funding to date to $31 Million.

Original investors included Comcast Ventures, HTC and Samsung, but now join Horizons Ventures, Twentieth Century Fox, Evolution Media Partners (backed by TPG and CAA), China’s Shanghai Media Group, Youku Global Media Fund and LDV Partners.

The series B funding brings along with it Larry Cutler, Pixar’s technical director for Toy Story 2 (1999) and Monsters Inc. (2001). Cutler will be joining Baobab as chief technology officer (CTO).

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Comcast, Samsung, and HTC Join $6 Million Investment in VR Animation Studio 'Baobab'

Chris Milk, founder and CEO of VR film distribution platform Within, will also be joining Baobab’s advisory board.

“We are on the cusp of a storytelling revolution with this medium, and VR gives filmmakers the opportunity to develop immersive experiences and take audiences into the story like never before,” says Mike Dunn, President, Twentieth Century Fox Home Entertainment and Fox Innovation Lab. “Baobab Studios is an innovator in this space, and we look forward to working with them.”

ASTEROIDS!, the second installment in the INVASION! series, was first revealed at the Oculus Connect 3 developer conference earlier this month. The full release of ASTEROIDS! is slated for 2017.

Baobab Studios was founded by Eric Darnell and Maureen Fan in 2015. Darnell is best known for his director and screenwriter credits on all four films in the DreamWorks Madagascar franchise, and also known for his work on The Penguins of Madagascar (2014) and Antz (1998). Fan comes to Baobab from mobile game developer Zynga where she oversaw three studios, including the FarmVille sequels. Fan previously worked on Pixar’s Toy Story 3 (2010).

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VR & The Mind: Empathy – Could VR Make Us Care More?

We seem to be getting worse at understanding one another; or at least caring on a wide enough scale to do anything about it.  A cursory look at current global events doesn’t do much to refute this.

Racial tension continues to simmer in the US provoked by a spate of police shootings of unarmed African Americans and the lingering threats of Donald Trump’s wall.  European politics continues to move away from the middle ground, with a troubling resurgence of the far right amid the uncertainty of “Brexit”.  Meanwhile, the disturbingly steady beat of extremist terror continues to drum across the world, arguably the greatest example of deep seated mutual misunderstanding facing our generation.

On a more personal level, how many homeless people have we all walked past in the last month? Or did we really need that extra 15 minutes in the shower? This contrast is perhaps most stark in the global tech mecca of Silicon Valley which has a surprisingly ugly homeless problem and an even uglier lack of empathy in some quarters.

But what does all this have to do with virtual reality (VR)?

VR has been described as the “ultimate empathy machine”. It gives us a way to almost literally put us in someone else’s shoes and experience the world the way they do.Intuitively, we know that intense experiences change our perceptions and behaviours. So, if VR can create realistic enough experiences to evoke these reactions – could it truly make us care more? Could VR hold the key to resolving our most damaging behaviours? Or is the empathy experienced just another marketing fad? Or worse, could this become a malevolent tool to manipulate us in more powerful ways than we’ve ever previously known?

To answer these questions, we must briefly look at what empathy really is and how it works.

How does Empathy work?

We are innately social animals. Our brains are wired with the ability to perceive one another’s needs to allow us to operate effectively in groups. It is these interpersonal faculties which many scientists believe lies at the heart of our species’ success.

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Jamil Zaki, a Stanford neuroscientist studying empathy, identifies three primary ways we experience empathy – we actively share an experience, we internally think about someone else’s experience and we express motivation or take action to improve another person’s experience. Scientists have managed to identify specific regions of the brain and “mirror neurons” that are activated when people experience empathy.

These studies show that when we witness others in pain this activates the same parts of the brain as if we were experiencing it ourselves. Disturbingly, we’ve come to learn this in part from analysing psychopaths, who under the same conditions actually trigger areas in the brain associated with pleasure.

The process that turns momentary experiences of empathy into lasting behaviour change unfortunately remains far more elusive.

So for VR, Jeremy Bailenson neatly summarises how it might make our brain work: “If you think of an intense experience you’ve had in your life that has changed the way you think or behave, and if you believe that VR can feel real, then you can start to understand how VR experiences can change the way you think or behave.”

 

What’s happening today?

This all sounds promising and in many areas it is. Clouds over Sidra is a VR documentary that puts potential donors into the shoes of a young Syrian refugee. Created by leading VR filmmaker and poster boy Chris Milk in partnership with the UN, Clouds over Sidra is one of the most widely distributed VR films to date. To further promote the issue, Milk’s production company partnered with the New York Times last November to create The Displaced, which was sent out to over 1 million subscribers along with a Google Cardboard. 

All this seems to have had an impact. Clouds over Sidra was praised for helping boost donations at a fundraising conference by over 70% to $3.8billion. More directly, UNICEF’s David Cravinho has seen the film half the time it takes to convert a potential donor to making a donation. This provided enough evidence for the UN to invest in creating their own “UNVR” app which was launched at the Toronto Film Festival last month.

Milk and the UN aren’t the only ones trying to harness VR’s empathetic power. UK VR company Visualise have created several high profile VR films for NGOs themselves, including Forced From Home for Medicens Sans Frontier (MSF) – which also profiled the plight of refugees from Syria and Honduras. For Henry Stuart, Visualise’s founder and CEO VR offers a “unique ability to emotionally connect with people”.

To maximise the experience of empathy and connection, Visualise focused on telling critical parts of the story face to face with patients and doctors.

As Stuart puts it, “The fact that you feel transported and in another location is the first step but then seeing someone in front of you, see the whites of their eyes gives the similar sense of connection to if they were standing right in front of you.”

Clouds Over Sidra

There’s a risk, however, that these initiatives become the latest novelty marketing tool available only to those with UN size budgets rather than creating anything with more longevity.

Sustained grassroots campaigns focused on less high profile social issues present a further testing ground for how much lasting behaviour change VR can create.Visualise are doing their bit in this area working with Jane Gauntlett for her In My Shoes series which gives each audience member a window into what it is like to have the neurological condition epilepsy. Similarly, The National Autistic Society (NAS) used VR as part of their broader “Too Much Information” campaign which aims to explore the chaotic reality of autism and raise public awareness of the condition

Whilst general public reaction was positive, the real step change was for families who found they now had a practical tool to use in daily interactions to help explain to friends, teachers and others what their loved ones were experiencing.

Behind all this is the emerging scientific evidence from Bailenson’s Stanford lab. They’ve conducted research studies where people have been made older, color blind and even superheroes. In each case, people’s thoughts and behaviours in the real world alter as a result of these experiences. Its also clear that Bailenson believes this has much further to go: “What’s surprising to most is that even with fairly modest graphical realism and imperfect limb tracking, participants can still feel as though they have become the avatar they are embodying.”

VR&TheMind2-Superheroes

What could possibly go wrong?

Inevitably, the “ultimate empathy machine” still has a few kinks to work out.

One of Bailenson’s earlier studies found that placing people into darker-skinned avatars actually activated negative stereotypes about black people rather than building understanding. Similar studies have also demonstrated that experiences such as this can trigger racial stereotypes due to the priming effect. There is also the issue of creating long lasting behavioural change as opposed to fleeting alterations of perspective. All scientific evidence so far suffers from the common experimental limitations of small sample sizes and minimal long term data. Bailenson’s lab is looking to address this right now through an “empathy-at-scale” study which will collect data from a diverse sample of 1000 participants.

Then there’s the bigger concern of what happens when we do crack the empathy code.

We’re already extremely easily manipulated by the media that surrounds us. What happens once we start creating environments that precipitate behaviour change with surgical precision? How do we educate people about what they’re experiencing? How do we cater for moral ambiguity? And how do we manage the inevitable nefarious uses that will be dreamt up by tomorrow’s autocracies and criminals? As with all technology, we often lazily assume that it will only be used by the good guys to make things better for us all.

VR is one of a spate of 21st century technologies that is too powerful to simply ignore what could go wrong.

 

So could VR make us care more?

There’s no doubt VR can create visceral moments of empathy that at least for a short period afterwards make us care more. Already, it’s helping us donate more, think more carefully about making future savings and be more mindful of conditions like autism. But we’re still a long way from having something resembling the mechanistic certitude of an “empathy machine”. Right now, it’s simply another experimental tool for those seeking to persuade and enact change.

Given what’s possible today, I’m most excited about targeted interventions that actively tackle our inbuilt cognitive biases. Imagine how VR experiences could be used as a priming technique in peace negotiations and conflict resolution.  So my hope is, for every VR empathy film that pulls the heartstrings of glitzy festival audiences, there’s also an experience put in the hands of powerful individuals, making complex decisions, during real-life meaningful situations.

Only then might we start to see VR truly become the ultimate empathy machine.