How Teachers In Poland Used Half-Life: Alyx And VR For Remote Teaching During A Global Pandemic

School corridors are mostly absent of life these days with classrooms left vacant. Playgrounds are deserted — only abandoned swings swaying eerily in the breeze. Everything has an almost dystopian feel; it’s almost like a Half-Life game.

Needless to say, schools have looked very different lately.

[UploadVR regularly commissions freelance writers to review products, write stories, interview subjects, and contribute op-ed pieces to the site. This article is a feature piece from an experienced journalist unaffiliated with UploadVR.]

I’m watching a video from Szkoła 33, a high school in the city of Poznań, western Poland. The camera tracks through the school, taking in rows of empty tables, discarded toys, and unused equipment. Eventually, it fades out to a teacher, who welcomes the children to the lesson.

Then the footage cuts away completely, and Half-Life: Alyx begins.

Dystopia might be correct – but in fact, the game was used by Szkoła 33 to conduct lessons for children in lockdown. A total of six VR sessions in Half-Life: Alyx were made by the school to teach various subjects, with many of the videos lasting over two hours. The lessons combined live and pre-recorded material, and were uploaded to Facebook, Twitch, and YouTube 

half-life: alyx concept art

“We decided to use VR in lessons because it seemed like a good opportunity to try something new and to engage our students in online classes,” explains Katarzyna Sut, English and Spanish teacher, and webpage administrator. 

“The pandemic had just started back then, the schools were closed, and we wanted to interest our students in the classes somehow. We also hoped that it would help them with the uncomfortable situation everyone found themselves in – those first few weeks were not easy for kids, being on lockdown in their homes and not able to roam freely.”

Poland went into an early lockdown in an attempt to mitigate the spread of the virus, with schools closing on March 11th, 2020. Online learning was made compulsory on March 25th.

A mere five days later came Szkoła 33’s first foray into VR lessons, with the teachers keen to combine educational material with entertainment value as a way to try and keep children amused at home. Still, the lessons took a lot of work behind the scenes.

“A VR studio actually came to our school,” recalls Sut. “They made the magic happen right in our classes!”

The teachers cooperated with local media company OFFshot to make the Half-Life: Alyx VR classes. OFFshot had been previously working with the school on promotional videos for recruitment, but after hearing about other innovative uses for VR, they realized it could be used for livestream lessons too.

“VR is the future of creation,” believes OFFshot’s Adrian Michalski. “Projects like ours show that VR can be introduced more widely into universal teaching.”

Equipped with an HTC VIVE Pro and three cameras, the school recorded languages, math, and science lessons, with the teachers using pens inside the game to draw diagrams, as well as teaching children vocabulary in a virtual kitchen.

It’s a bit shaky at first: Michalski explains that the teachers had never used VR before, and only trained for half an hour before the lessons were filmed – but they mainly go off without a hitch. 

The debut, on March 30th, was an English class. We see the teacher explore the space curiously: she comments on the weather, explains what she (and the viewers) can see, stops to pick up objects. It’s just as the game should be played, but with a twist.

“Here’s a mug,” she muses. “I was drinking a coffee this morning.”

Then – and heedlessly ignoring an incoming call from Eli Vance – she turns to some markers, and begins to scribble some English vocabulary onto the windows.

There’s an experimental feel to the videos, and a small picture-in-picture in the corner of the screen shows exactly what’s happening in the real world: the teacher – clad in a VR headset – tiptoeing around and drawing into the empty space of the real-life classroom.

half life alyx combine
A typical scene when playing Half-Life: Alyx the “proper” way.

“This was a nice touch,” adds Sut. “This way the kids could see something familiar from their usual days.”

And according to her, the move to VR teaching certainly seemed to pay off. 

“We believe the students liked them,” she says. “From younger kids to teenagers, we have seen all of the age groups of our school gather together on Facebook to watch them. Going by the emojis they shared and reacted with, as well as the comments, they enjoyed them very much.”

“We also hope they got something out of them, knowledge-wise, but as to this, time will tell!” she jokes.

Michalski agrees that the VR lessons showed a lot of promise.

“The number of positive comments surprised us. People wrote to us: ‘I have been to school for a long time ago, but I watched all maths lessons and I am waiting for the next ones,’ or “I watched the whole lesson with the children. Thank you!’

“VR in schools has great potential.”

News of Szkoła 33’s adaptation to lockdown learning spread across Polish media, and its popularity has also changed the way the school is thinking about future lessons.

“We do have plans for future classes made using VR, but their amount and the number of students involved will depend on the pandemic situation after the summer holidays,” explains Sut. “We hope to be back at school in September, and if it all works out, we plan to have regular classes, at school, using the VR technology. Preferably, all kids will be able to take such a class at least once a week, but that depends on the situation around us, too.”

If the VR lessons can go ahead in future, they will be used in classrooms and online, teaching content across the school curriculum. For younger children, says Sut, VR provides an interesting alternative to mainstream education. For older students, it opens up even more possibilities.

“We can use VR to take them on virtual tours to another country, to another planet – the sky is the limit here,” she gushes. “The cognitive process becomes more natural, as opposed to just reading about things in books.

“VR looks very promising. We are very optimistic about it right now.”

The post How Teachers In Poland Used Half-Life: Alyx And VR For Remote Teaching During A Global Pandemic appeared first on UploadVR.

How Steel Wool Studios Brought Five Nights At Freddy’s To Life In VR

Five Nights at Freddy’s VR: Help Wanted was an immediate success on Oculus Quest reaching an unprecedented number of user reviews (mostly positive) on the Quest store within mere hours of release. We loved it too, for what it’s worth.

The game’s success on Quest this year follows its previous success on PSVR and PC VR headsets as well. Now basically anyone with a major VR headset can play it.

We recently got the chance to conduct an email Q&A with Andrew Dayton, CEO of Steel Wool Studios, to chat about the game’s development, bringing the franchise to VR, and what’s in store next for the furry denizens of Freddy Fazbear’s Pizza.


UploadVR: Five Nights at Freddy’s VR on Quest seems to be doing very well. Can you speak at all to sales numbers? 

Andrew Dayton, Steel Wool Studios CEO: FNAF VR Help Wanted has done amazingly well! We can’t speak specific numbers but we are free to share that we broke Oculus Quest’s 1-Day sales record as well as its 1-Week sales record. 

 

UploadVR: Can you speak at all to how it is performing on Quest relative to other VR platforms?

Dayton: FNAF VR Help Wanted has performed exceptionally well on all the VR platforms. I can’t really compare them as they are all different ecosystems really. Between the PC-based VR, Sony’s PSVR and Oculus’ stand-alone Quest, there is an option for almost everyone who is interested in Virtual Reality and the user base is just getting larger.

 

UplaodVR: Steel Wool isn’t the original developer of FNAF, so what was it like working with an existing game studio’s non-VR IP?

Dayton: It has been a great experience. My co-founder and Creative Director Jason Topolski and I met while we worked at Pixar so we have experience working with larger than life IPs. What people who are not well versed in the FNAF universe may not know is that the IP and series of games are created by one person, Scott Cawthon. We were introduced to Scott through Lionsgate Games and Striker Entertainment.  Since then, we’ve work directly with Scott when pitching ideas and having reviews. There is no filtered layers of communication, if we need to discuss something with Scott we can simply just jump on a call. He is very collaborative, creative, and supportive. His greatest trait is that he genuinely cares about his fans above all else. You really cannot ask for a better partner. We would be happy to work with him forever!

 

Five Nights At Freddy's VR teddy bear

UploadVR: Was it difficult to adapt for VR or did it seem like a natural fit?

Dayton: It was a natural fit. Scott’s creative and aesthetic style lines up very well with ours. His games are scary to begin with. VR enhances that sense of tension and fear. What you get in VR that you cannot necessarily get in a 2D game is scale and spatial tension. You can “feel” something is behind you in VR. In FNAF, there may very well be! 

 

UploadVR: The Five Nights at Freddy’s VR fan-base is extremely rabid and passionate. Was that surprising to be on the receiving end of?

Dayton: Surprising? Yes and no. My fellow co-founders, Jason, Stewart and I have kids and we knew well before we started working with Scott how passionate the fans are. What we didn’t know was how we would be welcomed into the community. The fans have been incredible. They are so energized and have been so supportive of us and we are so grateful to them. We get so many great messages and emails from fans. We have fan art kids have sent us hanging up in the studio. It is humbling and makes us feel a part of something special. 

 

 

UploadVR: What aspect of Five Nights at Freddy’s VR development, specifically on Quest, was most challenging?

Dayton: Optimization! We worked with Oculus and an incredible team at The Forge to get FNAF Help Wanted on to the Quest. The result is an amazing version that shows off what can be accomplished on the Oculus Quest. Wolfgang Engel and his team at the Forge really helped do most of the heavy lifting and were incredible to work with.  

 

UploadVR: What is the timeframe for bringing Curse of the Dreadbear DLC for Five Nights at Freddy’s VR to Quest?

Dayton: It is in the works but we can’t share any timelines yet.

 

UploadVR: Are there plans for additional DLC releases for Five Nights at Freddy’s VR?

Dayton: Unfortunately, we can’t speak to future plans.  

 

UploadVR: Do you plan to continue supporting the non-Quest versions of FNAF VR?

We will continue supporting all versions of Help Wanted.

 

Five Nights At Freddy's VR

UploadVR: What was your favorite part of working on FNAF VR?

Dayton: My favorite part working in the FNAF world is seeing how much fun players have immersed in the universe. I truly understood what FNAF was capable of one day at the office during production. We don’t have offices, we all sit together in an open space with the offices converted into demo or art rooms. There was an art team from one of the hardware companies visiting the studio. The team was demoing an early version of Help Wanted and there was about 7 of them crowded in the demo room next to my desk. I was working and I kept hearing screams followed by hysterical laughter. The art team was having so much fun playing the game and watching their co-workers getting jump scared. Scott created this world where there was humor, horror and a deep underlying storyline. 

 

 

UploadVR: Can you hint at what you’re working on next after FNAF VR?

Dayton: We are working on the next Five Nights at Freddy’s game. It is an ambitious project and will be the biggest title we have ever worked on. We also have an VR Enterprise division that is working on a VR therapy application with a medical technology company.   


 

Upon receiving the Q&A responses, we reached out for further clarification on the final answer regarding the new Five Nights at Freddy’s game. At this time, a company representative has told us that, “the new game mentioned is not confirmed for VR” at this time. It feels like that was worded very carefully, but as of now we’re treating it as if it is not coming to VR. At least not yet.

For more on Five Nights at Freddy’s VR: Help Wanted, don’t forget to check out our written and video review here. You can also check out a jump scare-filled livestream from the game’s launch day on Quest last month as well.

The post How Steel Wool Studios Brought Five Nights At Freddy’s To Life In VR appeared first on UploadVR.

Frostpoint Is A New Multiplayer AAA VR Shooter From inXile, Creators Of Wasteland And Mage’s Tale

The renowned developers of classic game franchises like Wasteland and The Bard’s Tale, as well as VR dungeon crawler The Mage’s Tale, are unveiling their next VR-exclusive project: Frostpoint. This is a change of pace for inXile Entertainment, being a first-person multiplayer shooter instead of an RPG, but it’s shaping up to be something worth keeping an eye on.

Frostpoint (not to be confused with PSVR-exclusive VR shooter, Farpoint) is an upcoming multiplayer VR shooter from inXile that aims to deliver an innovative PvPvE experience. This means that while fighting against other players to control points and win competitive matches, there are monsters in the environment wreaking havoc and causing chaos at the exact same time to really flip the genre on its head.

Earlier this month I got the chance to speak with Brian Fargo, Studio Head at inXile, and Pete Mayberry, Lead Designer on Frostpoint, to chat about the game, its development, and what players can expect. It’s a detailed interview loaded with juicy details. You can watch the whole thing in a video embedded farther down this feature, or continue reading for the highlights.


 

FrostpointVR_3

What Is Frostpoint?

Frostpoint is a AAA-caliber multiplayer VR shooter focused on competitive team versus team combat. Comparisons to Battlefield were made in the interview and I can see the likeness and inspiration in the trailer and screenshots, albeit with a sci-fi post-apocalyptic spin.

When loading into Frostpoint you’ll matchmake with other players, get sorted onto one of two teams, then hit a bunker with a wall of weapons, armor suits, and gadgets to pick from. There is no class system, it’s just based on the gear you bring with you.

“We’ve got a suite of realistic weapons with attachments like scopes and second hand grips,” says Mayberry. “We also have a suite of sci-fi weapons that are really interesting to play that change the dynamic of the game. In terms of going out and finding loot, there will be locations where these upgrades happen, they become hot points of contention between teams. So out in the world there are guns available but be very wary about going to get them.”

Since Frostpoint is not class-based that means you’ll change your style of play based on the armor suit you wear and weapons you carry.

“It’s a free-form class system,” says Mayberry. “You as a player, your class is really based on what tools you’re grabbing from the wall, paying in-game currency to upgrade, and then the suits add a certain level of class-like features. Some suits have players running faster, better protection, cut down on gun recoil, there are certain things that change. If you want to be a heavy you can be a heavy, if you want to be a scout you can be, or if you want to be pure support you can.”

There are two game modes planned right now: classic team deathmatch and domination, both will be up to 10 v 10. Domination works just like in Call of Duty or Destiny in which teams vie for control of waypoints on the map and accrue points based on how long they can maintain control. Mayberry also confirmed bots will be in at launch as well so you can play by yourself and still have fun, or just with a small group of friends as a co-op only experience.

FrostpointVR_concept03

But that’s not all. In addition to fighting the other team, every game mode on every map also has a bunch of hostile creatures that attack anyone and everyone. This creates a relatively unique PvPvE experience that is sure to keep everyone on their toes.

“Then there’s a whole second layer with the PvE element,” says Mayberry. “There’s a constant threat of these biomechanical creatures coming out from every direction. You’ll be fighting against the enemy team and turn the corner then you’re faced with these hulking creatures. It’s a great dynamic to deal with those things and then deal with the other team and try to win the day against these two forces.”

Mayberry goes on to describe these creatures as a “resource” that players will seek out, likely to loot for currency that can be used to upgrade and improve gear during matches.

“The layer of the PvPvE element is very cool, it changes the dynamic of the battlefield greatly when you’re playing,” says Mayberry. “Our artists did a fantastic job, it looks really nice for a VR game and even for a non-VR game it looks beautiful. We layer in the lite sci-fi element so we can introduce things that are less realistic. For example, energy weapons are a blast to use, sorry for the phrasing.”

FrostpointVR_4

From The Mage’s Tale To Frostpoint

“Some of the most fun I’ve had in years playing games has been in VR,” says Fargo. “Whether it be Arizona Sunshine, Survios titles, and even our own Mage’s Tale, I remember one time I was playing VR, playing, playing, and playing, then I took off the headset and it was dark outside with all the lights off in the house.”

Fargo has deep roots in the early days of the video game industry, from founding Interplay in 1983 to working on classic PC RPGs and adventure games like The Bard’s Tale, Wasteland, Neuromancer, and the first Fallout. In many ways, he’s the forefather of post-apocalyptic video games.

Recently, inXile released The Bard’s Tale IV after VR RPG The Mage’s Tale and they’re currently set to release Wasteland 3 later this year. It’s also worth noting that, in November of 2018, Microsoft announced its purchase of inXile.

“I like the medium…from an immersive perspective it’s hard to beat, you’re right there,” says Fargo. “We wanted to do another title after Mage’s Tale, that’s part of the background, but the other part is that one of the tings I found fascinating at the time was watching a lot of the emergent gameplay systems pop up. Whether it be Rust or DayZ and those types of things, seeing the videos people were putting out of themselves having this incredible time that wasn’t based on scripted events.”

Read More: How The Mage’s Tale Pushes Dungeon Crawler RPGs Forward Using VR

If you’re familiar with Fargo’s body of work, you’d know that emergent gameplay based on unscripted content isn’t what his games are usually known for. Branching paths and sandbox-style interactions that can result in a wide-range of outcomes, sure, but not fully emergent gameplay. His best work is always extremely narrative-focused with mostly linear paths from start to finish. Frostpoint isn’t that at all, but there are still similarities.

“I’ve always done post-apocalyptic games and they’re about asking, ‘How would the worst of the worst behave in these situations when there are no rules?’ Well, watching a lot of those videos you got to see how they would behave. It was like emulating a post-apoc world, and a mean one at that. So I thought, “What could we do to that end and then bring VR to it?’

FrostpointVR_1 (1)

Over a year ago I actually went down to the inXile offices and played a very early build of Frostpoint. Back then it was a mixture of battle royale-style giant maps, survival mechanics inspired by DayZ and Rust, and a bunch of other nuances that aren’t in the game anymore. The reasoning for the shift is that, after extensive testing, they realized people genuinely enjoyed the combat elements far more than the otherwise tedious moments in between.

“We started working on a product that was, originally, going to be more of a survival game,” says Fargo. “But as we watched people play, more and more, where we always heard the shouting and fun…we leaned more into the combat side of it…it’s what people really gravitated towards.”

Ever since the Oculus Rift first released back in 2016, Fargo and the other developers at inXile have been VR fans and genuine consumers of popular content. VR games like Arizona Sunshine, Pavlov, Onward, Zero Caliber, Boneworks, Raw Data, and more were all cited specifically in the interview as inspirations and points of key research during Frostpoint’s development.

“Titles like Pavlov and Onward scratch a similar itch and even Boneworks shows how rewarding it is when you do weapons correctly, but it’s a whole different conversation when you have to see 19 different people all doing things in real time, in VR,” says Fargo. “It’s one of the most technically challenging things we’ve ever done at the company to make it work correctly and look good at the same time.”

FrostpointVR_2

Open Beta and ‘Play To Own’ Campaign

Frostpoint will have a free, Open Beta period in September to get people in and trying out the game. During that period, the first 10,000 players have a chance to win a free copy of the game during what inXile is calling its “Play to Own” campaign.

“We’ll seed the beta with the first 10,000 or so players and whenever they meet a certain criteria, whether it be number of hours or number of matches or whatever we decide, we’re going to just give them a copy of the game to recognize that they’ve put all this effort in to help us make a better game,” says Fargo. “So hopefully what that will do is create a playerbase from day one [at full launch].”

Since Frostpoint is a competitive shooter without a story mode, this is new territory for inXile. However, it doesn’t mean the lore is something they haven’t given thought to.

“With most all of our other games we make them, we ship them, and then we’re done at that point really unless we do DLC,” says Fargo. “I thought it would be fun here to create a world where we are adding on things over time. So we actually have a lot of deep stuff written that will tell a story over multiple years. The idea is, assuming there is success, that we continue building upon this world. First we needed to nail the core systems because unless the game’s fun no one is going to care about the lore, so we wanted to get those parts done first and then we can layer that other stuff on later.”

FrostpointVR_concept04

Brian Hicks isn’t with inXile anymore, but he was for a few years and was a key part of this game’s early vision. Hicks was Creative Director on DayZ for multiple years and has a deep background in online shooters. His expertise is what helped inXile lay the foundation for crafting an online multiplayer FPS — so the nuts and bolts should be sound.

Since what I played is no longer existent as a game concept, I’m eager to see what the current iteration of Frostpoint is like. The survival elements were intriguing before, but the massive map sizes and empty layout would certainly have been a chore. Streamlining things and really emphasizing combat with a mixture of dynamic PvPvE elements sounds like a lot of great ingredients, so hopefully it turns out to be a recipe for success.


 

Full 30-Minute Frostpoint Interview With inXile:


Frostpoint is slated to release for PC VR headsets (Rift, Vive, and Index specifically) later this year, price to be determined. Full index support, including finger-tracking, is specifically mentioned. No plans for Quest at this time.

An exact month is not set for release, but the plan is to release it in 2020, but a free Open Beta period is coming in September. During that play period is when testers can earn a copy of the game with the “Play to Own” campaign. More details on all of that to come closer to Beta launch.

Let us know what you think of Frostpoint, inXile’s ambitious new multiplayer VR shooter game down in the comments below!

The post Frostpoint Is A New Multiplayer AAA VR Shooter From inXile, Creators Of Wasteland And Mage’s Tale appeared first on UploadVR.

Layers Of Fear VR: Porting A Horror Classic To Oculus Quest

Following the release of Layers of Fear VR on Oculus Quest we caught up with Bloober Team to talk about their work in VR horror and what the future holds.


Layers of Fear VR Developer, Bloober Team, Q&A:


UploadVR: When did work on the Quest version of the game start?

Szymon Erdmański, Game Producer at Bloober Team: We started toying with the idea of bringing Layers of Fear to the Quest sometime in the fall of 2019. We wanted to experiment with this new medium, as we feel that there is certainly a lot of promise in VR. So we locked ourselves up, deep-dived into the hardware, and we started to work.

As you might be aware, we released Layers of Fear on the Oculus Rift first. That helped us get a feel for VR and it taught us a lot about the medium too. With the Quest version, we needed to spend a bit of time on optimization, so that we could get the most from the hardware and the experience itself. So overall, it’s been nearly a year that we spent from first dipping our toes into the platform to having Layers of Fear debut on the Quest.  

UploadVR: How challenging has it been to port the game to Quest? Having played both Quest and PC versions personally, I’ve seen some big, but understandable, changes.

Erdmański: The Oculus Quest is an awesome device to work with – and an even better one to play on. What makes it great is its cables-free experience – not its power. To bring the game to the Quest, we needed to do a lot of optimization. Pretty much, every level needed to go through optimization. 

Another challenge that we needed to face was to still have the lack of loading screens between levels on the Quest. The original game was structured so that there are no loading screens interrupting gameplay – just one free-flowing, continuous gameplay experience. When we started working on the VR versions of Layers of Fear, we said that this “No Loading” feature is a must, especially since VR is sooo immersive. A loading screen would just break you out of it. So what we did is we made the upcoming/future levels load in the background, as the player plays the game. Our team had quite a bit of work to do on that front, but we are happy that we did it. Seeing no loading screens made it all worth it!

layers of fear vr

UploadVR: How much of the original Layers of Fear was designed with the idea that this may one day be a VR game in the back of your minds? Did it influence original development?

Erdmański: To be honest, the original Layers of Fear was designed with PCs and consoles in mind. However, as production went along, each one of us wondered how “Layers” would look in VR and how cool it would be to play it in VR. And so, a few years later, we’ve made the plunge 😉 

UploadVR: On a similar front, how did work on the smaller Google Daydream edition, Layers of Fear: Solitude, inform the full VR version of the game?

Erdmański: Layers of Fear: Solitude taught us a lot on how to work in, and with, VR. The biggest change that we had to implement was the movement – we changed it so that players were able to teleport around the game. This meant that we also had to slightly redesign some parts of the game too. 

However, when we started working on the Rift and the Quest versions, we kinda did a full circle, and we went back to the “original” Layers of Fear as the source material. It’s crazy how much of a leap VR has made in a few years.

the medium xbox bloober team

UploadVR: Are you planning other VR ports of games like Layers of Fear 2, Blair Witch or The Medium?

Erdmański: To be honest, we do love the platform, the Oculus people are a joy to work with, we feel VR has a really bright future, and we do see our games and nightmares on the platform. So, we are not saying yes or no at this stage. I guess you just have to stay tuned for any news from us!

UploadVR: Would Bloober ever work on a native VR game from scratch?

Erdmański: We feel that VR is an amazing medium. It has so much potential – we are merely scratching the surface of it! As technology gets better, our understanding of it and how to use it will get better as well. It feels like there are so many new ways and possibilities to not just tell stories, but how to design gameplay mechanics. It feels still undiscovered. Saying all of this, who knows what the future might bring.


For more things on the spooky side, check out our list of the best VR horror games, watch our Layers of Fear VR on Quest livestream, and check out our review of Five Nights at Freddy’s VR.

Would you like to see Bloober Team work on more VR projects? Let us know down in the comments below!

The post Layers Of Fear VR: Porting A Horror Classic To Oculus Quest appeared first on UploadVR.

In-VR Interview: Matt Hall On Developing Shooty Skies Overdrive

This week, we sat down to chat with Matt Hall, the co-creator of Crossy Roads and part of the development team, alongside Mighty Games, of the new VR title Shooty Skies Overdrive.

Shooty Skies Overdrive launched for Oculus Quest and Oculus Rift this week, and if you read our review, you’ll know that we quite enjoyed our time with the game. Earlier this week, I sat down with Matt Hall to talk about the development of his new VR wave shooter.

Hall was an original DK1 backer and created a small VR game many years ago called Discovery. Since then, he’s been waiting for the right time and concept for him and Mighty Games to pull the trigger on something bigger for VR, and Shooty Skies Overdrive was the end result.

The game is a roomscale experience where you’ll be simultaneously dodging and shooting bullets as enemies fly around you, with multiple difficulty settings available. “It plays with scale quite a lot,” said Hall. “So as opposed to Space Pirate Trainer, where you’re shooting things a very long way away, or Robo Recall, everything’s around you. You can reach out and touch and, you know, chop with chainsaws and blow up with yo-yos, all the little crazy aliens that are flying around your head.”

We also talked about how COVID-19 impacted the game, with the team going into lockdown around halfway through the development cycle. The biggest challenge was not necessarily working remotely, but actually distributing and finding headsets for everyone to use while at home.”We certainly weren’t expecting having to share the limited hardware that we had around,” said  Hall, and pointed out that there was added challenge as an Australian-based studio, as headsets like the Valve Index still aren’t available directly to Australian consumers.

In terms of post-launch content, the studio has already begun work on some new modes and features. “We’ve got a 1.1 [patch] coming out. One thing we dropped from the final game was the arcade/high score mode. Quest has an API [with] leaderboards and stuff, so we’re going to integrate with all of that [as well].” Additionally, the team is looking into implementing hand tracking support on the Oculus Quest in a future update as well.

If you haven’t already, you can check out some gameplay footage and read our review of Shooty Skies Overdrive here.

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Iron Man VR Dev: This Is A ‘Fresh’ Take On Tony Stark And Not An ‘Origin Story’

We recently got the chance to interview Ryan Payton, founder of Iron Man VR developer Camouflaj, and Brendan Murphy, Lead Writer on the project, about their unique take on telling an original Tony Stark story. Iron Man VR is a PSVR-exclusive releasing this July 3rd.

I first got the chance to play Iron Man VR right when it was originally announced almost a year and a half ago. At the time, I only got to do some practice flight in the Iron Man suit flying around Tony Stark’s mansion and then a quick mission in the sky where I defended an airplane that was about to crash. It was quick and action-packed as a good showcase of gameplay, but didn’t tell me much about what the game as a whole is actually like.

To be clear: this is not related to any active comic book storylines, although the team did look there for inspiration, nor is it connected to the Marvel Cinematic Universe or any other video games. Iron Man VR is, from top to bottom, a standalone title we’ve been told.

During a video chat interview last week, Payton and Murphy talked to me about what it was like to try and establish an original take on Tony Stark and Iron Man in the wake of Robert Downey Jr.’s run as one of the most globally recognized, celebrated, and adored movie franchise characters of all-time in the Marvel Cinematic Universe of films.

iron man vr tony stark mansion

“Yeah, well, they certainly cast a long shadow,” admits Murphy. “…But, all the stuff about what has come before and the performances by other people before, we didn’t really concern ourselves too much with that. We use the comic books as reference and we set out to start fresh and create a new take on the character…We had talked about not wanting to tell an origin story.

“It just seemed obvious that it had been done and done well, but we still wanted to tell what felt like the essential Tony Stark story. And how do you do that with a character that’s been around since 1963 and there’s, you know, countless iterations of them? When we met with Marvel and it went well and, you know, we started to collaborate with them, the first thing they said was, ‘Yeah, please don’t make an origin story.’ They urged us to tell an original story, not just a retread of something we’ve already seen.”

Everyone knows the origin of Superman, Batman, Spider-Man given their lengthy history of feature film releases, so with the MCU still fresh in the mind of fans, a retread of Stark’s origins just isn’t needed. So, in the case of Iron Man, what does an origin story actually look like?

“Part of trying to make it a quintessential Tony Stark story, without it feeling like something that you’ve seen a bunch of times or at all, was hammering down on this theme of: Tony Stark being his own worst enemy,” says Payton. “I would say it’s probably the main theme of our game. And it’s such an essential, like Tony Stark thing to create a problem and then have to solve it basically. I would say, without spoiling anything, we kind of drove down on that theme.”

 

Iron Man VR is slated to release exclusively for PlayStation VR on July 3rd. Check out our Iron Man VR coverage hub here for more details on the game, our latest hands-on impressions, and more details from our interview with Ryan Payton and Brendan Murphy as new articles are published.


Did you miss out on the UploadVR Showcase: Summer Edition? Check out every trailer, article, announcement, interview, and more from the UploadVR Showcase right here.

The post Iron Man VR Dev: This Is A ‘Fresh’ Take On Tony Stark And Not An ‘Origin Story’ appeared first on UploadVR.

Valve Explains the Deceptively Simple Design Process That Made ‘Half-Life: Alyx’ Excellent

The secret to Half-Life: Alyx’s near-universal acclaim is… well, not as secret as you might think. Yes, the game surely had a budget much larger than any other VR game to date, but it’s far more than money that makes a great game.

In an interview with Half-Life: Alyx game designer Robin Walker, I got a glimpse of Valve’s game design process which felt intriguingly different than much of what I’ve seen elsewhere in VR game development. As Walker put it, creating Half-Life: Alyx was truly approached ‘one room at a time’.

The way we build Half-Life is unlike how we build our other games. The other games are sort of a service-multiplayer games […]. When we build Half-Life, we just build it one piece at a time… conceptually one ‘room’ at a time. And for each room a group of people sit there and they think: ‘what happens in this room that hasn’t happened in any of the previous rooms and fits into where we’re going with the next room?’ And then once you’re finished that process and you’re happy with it, you put it in front of some playtesters and see what happens, and you iterate on it, and then you go onto the next room. And you just do that until you’ve built the whole game.

It’s almost an ‘easy’ process… it’s a very fun process, because it involves a huge amount of just watching people repeatedly play the stuff you made—which was way more fun when working in VR than anything in previous games.

So rather than approaching the game’s structure from the top-down, starting with high-level gameplay concepts, as many seem to do, Valve really honed in on the gameplay of each room in the game, almost like creating a string of mini-games that were each designed to be interesting and fun. Crucially, this allowed the studio to regularly playtest discrete sections of the game—and then remix, rearrange, or even cut them as needed.

SEE ALSO
Loved 'Half-Life: Alyx'? Here's 10 Great VR Games to Try

Putting playtesters through each room regularly also allowed the developers to anticipate and react to what future players would do in instances where they found that many playtesters behaved the same; walker explains how watching playtesters helped Valve decide where to focus its development efforts in each room.

The thing that [this process of building rooms and playtesting] really allows you is to respond to what you’re seeing players do. I like to think of it like: you’ve got a [conceptual] ‘budget’ as a developer and the real choice is where you spend your ‘budget’, and your goal is to spend it in the place that generates the most value for the most players.

And the great thing about VR is that everyone seemed to react so similarly [in playtests] […]. Where in Half-Life 2 we might build a room—and there might be a vent on one side and some stuff on a bench or something—maybe 75% or 80% of players run through the room [without looking at anything] and 5 to 10% of the players explore one thing and another 5% of players explore another thing. [When only 5% of players are looking at those things] it’s hard to justify spending a little bit of time going ‘let’s give them a unique little piece of content or experience if they explore that thing’. But when we watched [players in] VR early on it was like ‘oh my god, everyone looks at the vent, everyone pokes their head under the desk’—then it became ‘oh great, now we can afford to put all that budget there’.

Among other things, many of the game’s contextual voice-lines were added only after seeing that many players would do (or even say) similar things as they played. Seeing that common behavior helped the developers decide where to spend their finite resources.

Walker said that this process—of testing, iterating, and testing again—created a feedback loop which explains why Valve decided to focus so much on extremely detailed environmental art.

There were areas of the game that were essentially art-passed fully multiple times. The section right after you go into the quarantine zone was the first area of the game we really built because it was [essentially the game’s tutorial]. We built it first and we tested it before it had any art, and then we put art in it, and then players explored more [because of the extra art], so we put more art in it, and then they explored more, so we put more art in it—and it was just sort of comical how much… you could do that forever it seems […]

Had Valve not observed that players responded positively as they enhanced the artwork, the the studio would have spent far less time on that aspect.

For Valve, constantly running playtesters through the game was so critical to the game’s development process that the developers built tools to aggregate player data so that it could be reviewed to answer key questions about the game, like how much of the game’s useful objects (ammo, resin, health, etc) were players actually finding as they progressed.

Everything you find [in the game] has been hand-placed and chosen as to what it is. We’ve done multiple complete passes over the game about exactly what you find and where you find it. We stat-gather the heck out of it—we have a whole system for seeing… [for instance we would] gather the data from 10 playtesters and walk through the game linearly and see ‘alright, 10% of them picked up that one, and no one found that one, and these three people found that one…’ and be able to really track it.

So we did a lot more work on that than we’ve ever done before on any of our games to try to make that payoff; we have a specific experience we want to deliver in that—we want you to always feel like you have ammo, but never as much as you’d like. And that’s true of all the other things as well whether it’s health or resin, etc.

The deceptively simple part about building a game one room at a time is the seeming inelegance and constant playtesting throughout the design process. It’s the opposite of building high-level systems—like procedural planets, weapon archetypes, or dynamic daily objectives—and hoping for interesting gameplay to emerge. It’s the brute force approach to creating fun. Build a room. Test it. Is it fun? No? Fix it. Is it fun yet? No? Keeping testing and keep working on it until it is. And if it isn’t? Throw it out. Finally made a fun room? Time to make the next one.

SEE ALSO
‘Stormland’ Behind-the-scenes – Insights & Artwork from Insomniac Games

The results of this process are clear. Half-Life: Alyx is demonstrably the most acclaimed VR game and even Half-Life game to date.

The post Valve Explains the Deceptively Simple Design Process That Made ‘Half-Life: Alyx’ Excellent appeared first on Road to VR.

Valve Explains the Deceptively Simple Design Process That Made ‘Half-Life: Alyx’ Excellent

The secret to Half-Life: Alyx’s near-universal acclaim is… well, not as secret as you might think. Yes, the game surely had a budget much larger than any other VR game to date, but it’s far more than money that makes a great game.

In an interview with Half-Life: Alyx game designer Robin Walker, I got a glimpse of Valve’s game design process which felt intriguingly different than much of what I’ve seen elsewhere in VR game development. As Walker put it, creating Half-Life: Alyx was truly approached ‘one room at a time’.

The way we build Half-Life is unlike how we build our other games. The other games are sort of a service-multiplayer games […]. When we build Half-Life, we just build it one piece at a time… conceptually one ‘room’ at a time. And for each room a group of people sit there and they think: ‘what happens in this room that hasn’t happened in any of the previous rooms and fits into where we’re going with the next room?’ And then once you’re finished that process and you’re happy with it, you put it in front of some playtesters and see what happens, and you iterate on it, and then you go onto the next room. And you just do that until you’ve built the whole game.

It’s almost an ‘easy’ process… it’s a very fun process, because it involves a huge amount of just watching people repeatedly play the stuff you made—which was way more fun when working in VR than anything in previous games.

So rather than approaching the game’s structure from the top-down, starting with high-level gameplay concepts, as many seem to do, Valve really honed in on the gameplay of each room in the game, almost like creating a string of mini-games that were each designed to be interesting and fun. Crucially, this allowed the studio to regularly playtest discrete sections of the game—and then remix, rearrange, or even cut them as needed.

SEE ALSO
Loved 'Half-Life: Alyx'? Here's 10 Great VR Games to Try

Putting playtesters through each room regularly also allowed the developers to anticipate and react to what future players would do in instances where they found that many playtesters behaved the same; walker explains how watching playtesters helped Valve decide where to focus its development efforts in each room.

The thing that [this process of building rooms and playtesting] really allows you is to respond to what you’re seeing players do. I like to think of it like: you’ve got a [conceptual] ‘budget’ as a developer and the real choice is where you spend your ‘budget’, and your goal is to spend it in the place that generates the most value for the most players.

And the great thing about VR is that everyone seemed to react so similarly [in playtests] […]. Where in Half-Life 2 we might build a room—and there might be a vent on one side and some stuff on a bench or something—maybe 75% or 80% of players run through the room [without looking at anything] and 5 to 10% of the players explore one thing and another 5% of players explore another thing. [When only 5% of players are looking at those things] it’s hard to justify spending a little bit of time going ‘let’s give them a unique little piece of content or experience if they explore that thing’. But when we watched [players in] VR early on it was like ‘oh my god, everyone looks at the vent, everyone pokes their head under the desk’—then it became ‘oh great, now we can afford to put all that budget there’.

Among other things, many of the game’s contextual voice-lines were added only after seeing that many players would do (or even say) similar things as they played. Seeing that common behavior helped the developers decide where to spend their finite resources.

Walker said that this process—of testing, iterating, and testing again—created a feedback loop which explains why Valve decided to focus so much on extremely detailed environmental art.

There were areas of the game that were essentially art-passed fully multiple times. The section right after you go into the quarantine zone was the first area of the game we really built because it was [essentially the game’s tutorial]. We built it first and we tested it before it had any art, and then we put art in it, and then players explored more [because of the extra art], so we put more art in it, and then they explored more, so we put more art in it—and it was just sort of comical how much… you could do that forever it seems […]

Had Valve not observed that players responded positively as they enhanced the artwork, the the studio would have spent far less time on that aspect.

For Valve, constantly running playtesters through the game was so critical to the game’s development process that the developers built tools to aggregate player data so that it could be reviewed to answer key questions about the game, like how much of the game’s useful objects (ammo, resin, health, etc) were players actually finding as they progressed.

Everything you find [in the game] has been hand-placed and chosen as to what it is. We’ve done multiple complete passes over the game about exactly what you find and where you find it. We stat-gather the heck out of it—we have a whole system for seeing… [for instance we would] gather the data from 10 playtesters and walk through the game linearly and see ‘alright, 10% of them picked up that one, and no one found that one, and these three people found that one…’ and be able to really track it.

So we did a lot more work on that than we’ve ever done before on any of our games to try to make that payoff; we have a specific experience we want to deliver in that—we want you to always feel like you have ammo, but never as much as you’d like. And that’s true of all the other things as well whether it’s health or resin, etc.

The deceptively simple part about building a game one room at a time is the seeming inelegance and constant playtesting throughout the design process. It’s the opposite of building high-level systems—like procedural planets, weapon archetypes, or dynamic daily objectives—and hoping for interesting gameplay to emerge. It’s the brute force approach to creating fun. Build a room. Test it. Is it fun? No? Fix it. Is it fun yet? No? Keeping testing and keep working on it until it is. And if it isn’t? Throw it out. Finally made a fun room? Time to make the next one.

SEE ALSO
‘Stormland’ Behind-the-scenes – Insights & Artwork from Insomniac Games

The results of this process are clear. Half-Life: Alyx is demonstrably the most acclaimed VR game and even Half-Life game to date.

The post Valve Explains the Deceptively Simple Design Process That Made ‘Half-Life: Alyx’ Excellent appeared first on Road to VR.

Blood, Sweat, And Physics: How Boneworks Turns Your Body Into Its Key VR Game Mechanic

When Boneworks (read our full review) released late last year from Stress Level Zero it led the charge in redefining how we interact with virtual objects in digital space. We took some time to speak with Brandon Laatsch from Stress Level Zero about the game’s innovations and successes.

By all accounts, Boneworks seems to have single-handedly ushered in a new era of interaction in VR games. For the next year or two I’d imagine we’ll often discuss types of interaction systems in terms of “pre” and “post” Boneworks. Or in other words, Stress Level Zero did some really impressive and immersive things with the way the game handles physics.

In most VR games before Boneworks when you reach out to touch something your virtual hand passes through it or becomes a silhouette of some kind to indicate you can’t do that. If you try to push open a door it doesn’t work unless you grab the door knob. If you want to shove an enemy you need to grapple them in the right spots and if you want to hit something hopefully you’ve found the right item and swing at something that’s assigned as having collision properties.

It was almost as if we were in the middle ground between traditional video games, limited by buttons and thumbsticks, and VR games, ideally limited only by the range of your body movement. It’s demonstrated best in this pseudo “Museum of VR” you find in the opening moments of Boneworks.

“After Duck Season we had a lot of ideas for what we could do that we felt would be much more mainstream and really push the medium forward, especially physics interaction in VR,” says Laatsch. “We had a lot of ideas from making YouTube videos [with Node] and seeing what people are responding to. Viral marketing is what sells games. What’s gonna sell new technology to people is seeing what their peers and people they relate to are playing and what they think of things. So we’re like, well, it’s very important to consider presentation inside the headset, as well as presentation outside of the headset.”

Boneworks Review 2

That’s on display immediately in Boneworks. When you pick up something that’s clearly heavy, like a metal barrel or a two-handed sledgehammer, you have to treat it as such. An early sign posted during the tutorial segment instructs you to pretend you’re lifting something in real life even though there’s not actually anything in your hands. Mime it, if you will.

That not only tricks your brain into moving accurately, but also makes it more entertaining and believable to watch for a viewer — which is crucial not just for selling VR to a consumer, but demonstrating it to friends too.

boneworks flashlight pistol

“We went after the genre of a physics action adventure FPS because it has a long tradition in the game industry of being a strong performer,” says Laatsch. “It’s what Sony goes after for a lot of their big tent pole releases.

“So we wanted to go after that and beyond and really tried to take a stab at being what we think action-adventures genre could become in VR, like, what does VR enable and that’s where the marriage of physics came in. Physics for a game can only go so far with a keyboard and mouse, you know. Following the launch of Half-Life 2 in 2004, you would say, ‘Oh, wow, the  keyboard and mouse is really spectacular for physics input!’ But since then, in over 15 years, not a ton of expansion on physics has happened. You can list off some, like The Legend of Zelda: Breath of Wild, you have  Red Faction, a handful of fitness games that have risen to the top, there’s Bioshock, There’s a handful of them, and then in terms of game design, a lot of that stuff somewhat stagnated over the last few years.”

If you draw a line charting the changes in how players interact with digital worlds using keyboards and gamepads since Half-Life 2, that line doesn’t have many fluctuations in it other than the titles Laatsch cites specifically.

Imagine playing a game like The Elder Scrolls V: Skyrim (VR or otherwise) with an actual physics-simulated world rather than just a bunch of geometry you walk across and pick up a few items in. Bethesda does a great job of selling illusions, but when you craft a world full of physical interactions the illusion starts to become reality, at least virtually.

“Then we looked at VR input devices, like we have this three 6-DOF tracked devices between the headset and controllers and they’re very accurately tracked,” says Laatsch. This is the input we’ve been waiting for to be able to push things further, right? To push to beyond what’s out there in traditional gaming. And the nice thing too is because it’s your actual body, there are real world limitations to how fast those tracked devices can move. It’s not like the flick of a mouse where you can send your character spinning in a circle super rapidly because in the real world you can only move your hands so fast and you can only accelerate your hands so fast or whip your head so fast. Like there’s actual real world constraints which are tied to your own anatomy, right?”

boneworks holding gun

This is where the miming of actions becomes even more important. In a lot of video games your character learns new abilities and can suddenly swing weapons faster, hit harder, and do unnatural maneuvers that defy the laws of physics. But to instead flip things around and use the laws of physics as the basis for your gameplay puts added stress on your actual body. What looks cool and feels cool are often very different things in VR.

“So we figured this is ultimately where physics can take the next step. Boneworks is not saying, ‘Here’s a complete exploration of what can be done with physics in VR’ though, like no, we think of it as this is the beginning of it.

“And it’s our job and everybody else’s job, hopefully, to now try to go and, as much as I hate to say it, make Boneworks age poorly. Like, we want to look back in 10 years and say, ‘Dang! It was awesome for the first time, but it’s unplayable now!’ That just means that we’ve done a great job here and now.”

“We had to figure out what a longer form VR gameplay session looks like,” says Laatsch. “Like, how fast can you move and how quickly can you do things? Eventually playing just gets way too tiring for long sessions. We had that experience and compared to something like Sprint Vector, where it’s like, everyone only has a few good a few races in them where they’re trying their hardest before they get too tired…In that case, it’s a race. It’s supposed to be exertion. But looking at the action-adventure genre and looking at how we can encourage people to play for an hour-long session or two-hour long session or, you know, whatever…To try to stand, you know, try to be on your feet all day is like a very full day at work, and you come home, then you’re exhausted.”

As someone that often binges VR games to get through them for reviews, I can personally confirm how exhausting many of them tend to be. But as the medium continues to evolve and grow, making room for more physical games (without leaving behind less intensive experiences) is important for innovation.

“Design-wise we wanted to make something, reckoning back to what I was saying earlier about reading well to the 2D viewer as well as to the in-headset viewer,” says Laatsch.

“Ultimately, where does it go? It seems like VR is, you know, we’re getting to a great point in terms of the amount of installed hardware on the PC side of people having CPUs and GPUs powerful enough to buy it. They’re just a headset away and we’re seeing the headset conversion starting to really ramp up with a good assortment of quality headsets out there for them to buy.”

boneworks scope test chamber gun


For more on the evolution of physics in VR, make sure and check out The Walking Dead: Saints & Sinners, which recently released, and Half-Life: Alyx, which is coming soon. You can also read our editorial on why these three games, including Boneworks, are so important.

Boneworks is available on Steam with support for all major PC VR headsets for $29.99. Read (or watch) our full review right here at UploadVR.

The post Blood, Sweat, And Physics: How Boneworks Turns Your Body Into Its Key VR Game Mechanic appeared first on UploadVR.

Now 150 People Strong, Varjo Talks Future Focus, More Affordable Headsets

Finland-based startup Varjo, maker of high-end enterprise VR headsets, has built an impressive product and charted a rapid growth, seemingly similar to the early years of Oculus. Now with 150 employees and some $46 million in venture funding, Varjo is aiming to make its headset lineup more widely accessible.

After an impressive demo of Varjo’s ‘workspace’ concept earlier this month, I sat down with CEO Niko Eiden and got a glimpse of the company’s focus and heading.

To Be (a Platform) or Not to Be

Eiden told me that Varjo isn’t planning to make an ecosystem play. Rather than profiting by owning a platform and the means of content distribution (as Facebook, Valve, HTC, and others are focused on) Varjo intends to be a product company—one which primarily profits from the sale of its hardware. The company’s headsets are currently compatible with OpenVR (the foundation of SteamVR), and every Varjo headset includes SteamVR Tracking built in.

More Affordable Headsets for a Broader Appeal

Image courtesy Varjo

Even among enterprise-focused headsets, Varjo’s are expensive. As the only headset on the market offering genuine retina resolution (at least in the central part of the field of view) the company at least has a truly unique differentiator which to justify the premium $5,000 pricetag for use-cases which demand visual fidelity that matches human eyesight. Even so, Varjo hopes to make its headsets more affordable in the future.

Eiden said that Varjo’s goal is to eventually make its products affordable enough that individual employees could reasonably ask their employer for the headset—the same way they might ask their department for a high-end monitor—whereas the cost today means there generally needs to be a very specific use-case and ROI in mind, which has kept Varjo’s headsets largely in the realm of Fortune 500 companies.

Indeed, impressive companies like Volvo, Audi, Saab AB, and Siemens PLM—companies with market caps in the tens of billions of dollars—are among Varjo’s “hundreds” of customers, Eiden said. But it’s going to take a cheaper headset for Varjo to reach medium-sized businesses, and to see its vision of seamless VR enterprise workflows come to fruition.

Image courtesy Varjo

Exactly where the price will fall, Eiden didn’t say, but with HTC’s Vive Pro Eye (perhaps the most complete enterprise-focused offering out there) at $1,600, somewhere between that and $3,500 (the price of well equipped workstation PC) seems reasonable.

Startup Trajectory

Since its founding in 2016, Varjo has grown quite rapidly. Eiden confirmed the company now has some 150 employees, about half of which he said are focused on hardware, with the other half on software. Varjo has raised some $46 million to date, and Eiden told me that the company is in the midst of raising its Series C funding round with a goal in the neighborhood of $55 to $110 million.

Image courtesy Varjo

As far as a the trajectory of a VR headset startup, that puts Varjo just about in a league of its own, with the nearest comparable seemingly being Oculus itself, which, over the course of about three years, raised nearly $100 million before being acquired by Facebook in 2014. Other VR headset startups out there which come close are Pico and Pimax, though neither have amassed the same level of funding.

Vision Driven

There’s a big question still in the air for Varjo. If the company doesn’t plan to own an ecosystem, what will differentiate its headset once others catch up with retina resolution visuals? For Eiden, the and rest of the company, the long term vision of the ‘workspace’ concept seems to be the pillar around which the company plans to ultimately build. “When we’re done, computers will look nothing like they do right now,” the company says.

The post Now 150 People Strong, Varjo Talks Future Focus, More Affordable Headsets appeared first on Road to VR.