DrBeef Recounts Path From DK1 To Doom 3 On Oculus Quest

We recently had Simon Brown, aka DrBeef, in our virtual studio for an interview and recounted his path from the first Oculus Rift development kit and building a rudimentary positional tracking system for Gear VR to his most recent ports of Doom, Return To Castle Wolfenstein and even Doom 3 to the Oculus Quest standalone headset.

Check out the roughly 23-minute interview here and read along with the transcript below:

Starting Out With DK1

UploadVR: Welcome to our studio. This is Simon. You are better known as DrBeef. We have DrBeef in our studio. You feel like royalty to come into our studio after all you’ve brought to the masses out here. Tell me how you started becoming a VR developer and what got you interested in it in the first place?

DrBeef: It goes all the way back to the original DK1, the very first Oculus dev kit, you know, I’ve always enjoyed gaming. When I first sort of stumbled across the Kickstarter I’d missed the opportunity to actually get one of the original Kickstarter units, but I signed up as quickly as I could to get hold of the original dev kit. And it sort of went from there. I mean, obviously those early days, there wasn’t much in the way of content. So there was the old sort of tech demo that people had thrown together. And then there were things like injection drivers. I think a lot of people are aware of VORPX, which is sort of one of the more popular current ones. So I got involved fairly early on in Vireio Perception, which is basically a DirectX 9 injection driver that allows you to play some of the games that you’d normally play on your monitor on the dev kit. And it kind of went from there really. So I just sort of started tinkering with that project. Got involved in that and moved on up the dev kits through the DK2. And then I got a Gear VR and I started doing a bit of dev for that. That’s where Quake first happened.

The rest is history, really.

Quake/Half-Life/Doom/Return To Castle Wolfenstein/Doom 3

UploadVR: List off all the games that you have sort of ported to VR. Give us the full list.

Dr. Beef: First there was Quake, then there was Half-Life then I think it was Quake 2 after that QuestZDoom then Return To Castle Wolfenstein. And then most recently Doom 3.

UploadVR: That’s quite a collection and I’ve been constantly blown away. It was amazing to go into the original Doom, alone. You’ve got those cardboarded textures kind of rotating at you, but it still feels like you’re actually in those rooms. Just the sense of presence is really stellar in there. Was it a surprise to you that you could actually get Doom 3 running on a Quest?

DrBeef: Yeah, very much so. It always been one of the goals is to attempt it at some point and it was never a certainty. If we’d literally just taken the original source and tried to make that run in VR, it would be a subpar experience, but there’s a chap called Emile, better known as Beloko, who has done a number of Android ports of a lot of this sort of classic id software games. And he’d actually implemented a multithreaded renderer for Doom 3. And that was a really good starting point. So we took that and we got that running on the Quest and it worked very well, but it wasn’t quite fast enough. So we then added OpenGL ES multi-view, which is the sort of approach where it can actually draw the two eye frames without having to do all the backend processing twice. And that was enough to make it just run smoothly as it needed to on the Quests. From that point forward, it was just great, really, but it was something of a surprise to actually be able to get Doom 3 running as well as it actually does.

Dream Ports

UploadVR: And that one still runs on the original Quest. I guess I’m wondering if you decided to port something that was Quest 2-only, how recent do you think you could go with a game. And is there a dream game that you would like to see ported? Or have you already gotten there?

DrBeef: The problem is there’s a dependency on the actual software being open source. As far as modern games go, I think Doom 3 is kind of — I’m quite happy to be corrected — but Doom 3 is probably one of the most recent well-known popular games that actually has its engine code open source. After that point, I think, id software stopped doing that. There’s not many games studios where they actually open source their engine software. It’s a bit of a shame. The game I would most like to do, but I think will probably never happen is Half-Life 2. Because I’m slightly ashamed to admit I’ve never played all the way through it. And also I got halfway through playing it on the original dev kit, but never finished it. You know, it’s one of those games that we get asked about all the time. There’s somebody who’s managed to do some sort of Android port somehow. I don’t know how they’ve done it, but it’s, you know, it’s not like a truly open source engine port. So I think there would be some risks entailed with trying to pick that up. So as it stands, I think that game is out of reach, but, yeah, that would kind of be the dream game to bring to the Quest, but I fear it’s probably never going to happen.

John Carmack And App Lab

UploadVR: You’ve had some communications with John Carmack. I noticed he talked about that on Twitter. What have you talked to him about, and what do you think Facebook thinks of what you do? And what do you think the next steps are going to be for some of these ports? Are you going to be able to get on App Lab?

DrBeef: I’m not really sure. I mean, it’s not like John Carmack and I have a secret conversation. So everything that everybody saw on that Twitter — that very short Twitter interaction — was literally as much as I also know. I sort of get the impression that he would be quite keen for some of the ports anyway, to actually make it to the Oculus store properly, as long as they are officially licensed. You know, and there were no sort of copyright issues or anything like that. And that would be great to see, but I don’t think that’s going to happen quickly and I don’t think it will be all that easy to achieve. And it won’t work for all of the ports either. For example, Half-Life, that will never be on the Oculus store. It’s not actually the Valve GoldSrc engine it’s using, it’s just like a fan project anyway. Yeah. So whilst some might make it, I’m thinking immediately of Quake, that’s probably the most likely of all of them and is certainly one that I know John Carmack himself has played. Beyond that I don’t really know. It’s hard to say. I’m not sure they are likely to make it onto App Lab because, well, there’s a variety of reasons, I think copyright is probably one of the issues because to create the store listing we would have to use images and gameplay footage. And we don’t own that — that doesn’t belong to us — we’re perfectly free to make changes to the engine and release it in a way that people can install it on their Quest. But trying to put that onto a store that is run and managed by Facebook, I think is possibly never gonna work out without all the proper legal agreements in place.

Facebook Account Requirement For Quest

UploadVR: Maybe it’s unfair to put this question to you, but as someone who has taken Facebook’s platform to such an extreme — it seems to me like you are one of the people kind of testing the limits of what Facebook will allow. You’re not doing anything that anyone else on sideloading or Sidequest isn’t doing. You’re using the same routes everyone else is, but you’ve been there since the beginning and you were there interested in VR before Oculus got bought by Facebook. I guess I’m wondering how you feel about the Facebook account requirement and how you think Facebook is treating developers and the overall marketplace.

DrBeef: I must admit as far as the ports are concerned, I’ll admit I’m slightly concerned at the longevity of the current sideloading approach is probably, potentially, under threat. It’s hard to say. They’ll make changes at the drop of a hat without — I mean, they don’t have to consult the community. They’ve sold so many millions of units of Quest devices now that most people would just, most people were probably completely unaware of Sidequest. Probably only like a percentage of Quest owners, a smallish percentage that are aware of it. So if they were to introduce something that then subsequently prevented people sideloading and they were forced to the use the App Lab route, then, I suspect that would probably spell disaster for most of the ports. Which is why I kind of pitched that question out there and hope that John Carmack could reply to it. I don’t know. I sort of feel like if you read a lot on Reddit, for example, the Oculus Quest sub, then, people’s opinions of Facebook are pretty well known. I don’t think I’m saying anything wrong to say that. I think they generally don’t have the most positive reception, particularly in the VR world. They’ve also, by the same token, they’ve done an awful lot for VR. They’ve, they’ve introduced low cost, high quality hardware that just wouldn’t be around otherwise. So you can’t be too critical. I think as a sort of hobbyist developer, I think I’d be very disappointed if my ability to get these ports and other hobby projects out to the masses in the way that we currently can is taken away — that would just be a big disappointment and I’m not entirely convinced that’s not going to happen. We shall see really?

Gear VR Positional Tracking

UploadVR: That’s such a nuanced answer. I appreciate everything you’ve said there. Reddit is not a representative crowd of who owns Quests, or buys Quests, or would be interested in buying Quest. Obviously there’s been a lot of people learn learning about VR and the power of VR through Quest and there’s benefits to linking your Facebook account to be able to socially connect with others. I understand why Facebook is sort of pushing that, but I think of open computing and the idea of being able to do what you want with your device. As a hobbyist developer, you’re at the whims of the platform holder to a certain extent, and you’ve done some other crazy things. Didn’t you also do some 6DoF tracking for Gear VR?

DrBeef: Yeah. So when I did Quake on the Gear VR originally it was obviously just Quake running with three degrees of freedom. So the gun was kind of attached to your face and wherever you looked, et cetera, but Google then released this thing called ARCore, which is like a sort of tracking technology and mapping as well. So ,the camera can sort of map objects and track the position of the phone in space. So I was able to sort of match the two together. So we had Quake Gear VR running with this Google ARCore as part of a sort of rudimentary positional tracking. So you could actually move around in Quake in a way that you couldn’t do with, I think pretty much any other Gear VR games. So that was, that was quite cool. And actually it kind of then fed very nicely into the original Quake port that we did for the Quest because we’ve already had some positional tracking built into it. So it was then just a case of utilizing what the Quest offered rather than sort of Google’s ARCore stuff.

UploadVR: That used the single camera on the Gear VR, the outward facing camera. Did it overheat those phones pretty fast?

DrBeef: Yeah, it did. Yeah. You couldn’t play it for that long. I mean, the Gear VR is sort of notorious for getting hot and having to shut down reasonably quick anyway. So yeah, when you’re running a fairly intensive positional tracking software, in addition to the port at the same time, it didn’t run for a great deal of time. It was novelty more than anything else.

Has Facebook Tried To Hire DrBeef?

UploadVR: So you’ve been a hobbyist developer. Do you have a day job in VR or would you like a day job in VR? Where do you see yourself in five years?

DrBeef: I am a software developer by trade. I’m not actually in VR or games. That’s part of the reason why it’s sort of such an enjoyable hobby for me. It was a bit of a busman’s holiday, but at the same time, it’s completely different to my day job. Would I like a job in VR? I don’t know. I must admit, I’m not sure who I would want to work for. I’m quite a sort of low level developer, C++ and Java, they’re kind of my, my languages of choice. I’m not really a sort of Unity or Unreal Engine type developer, so I don’t know. Maybe sometime in the future, maybe if I ever got lucky and managed to take early retirement. And, you know, looking for a job that I felt I could enjoy as more of a sort of hobby job, but at the moment I’m not really looking for the work in the VR industry. I’m quite happy doing this sort of hobbyist thing.

UploadVR: A lot of the early days of VR were debating comfort settings and whether games needed to be built from the ground up for VR, for them to be compelling.

DrBeef: Yeah.

UploadVR: I am one of these people that gets very sick, very easily with bad comfort settings. I’ve been going back and forth with you saying does it have teleport and those types of things, when you’ve been rolling out these ports. I remember going into Doom 3 and I spent maybe a good 20 minutes recording just the first 20 minutes of the game and running through all the different sections. And all I had was snap turning as well as straight forward and back with the other controller. And it felt fine more or less. I was so blown away by the quality of that world and the depths of it, all the voice acting and using the flashlight to light up various things that my brain wasn’t really too concerned about the comfort settings and it worked really well. I guess I’m surprised that there isn’t an effort at Facebook to reach out to some well-loved old games and get them ported properly to VR using great comfort settings, and getting them performant on a Quest device. Do you think that’s something Facebook would ever pursue, and have they tried to sweep you up and get you a job?

DrBeef: No, they’ve not tried to sweep me up. As for whether it’s something they’d pursue, I’m not sure it’s likely Facebook would pursue it. I think it’s possible that another studio might decide to look back at some of their old IP and think, yeah, maybe we could do something with that again, you know, it might not take too much to polish it up and make it quite enjoyable in a sort of VR setting as most of the ports already attest. They do work surprisingly well going from a flat screen into virtual reality. Particularly the likes of Doom and Quake, they’re very fast paced and there’s a lot of bouncing around and explosions and quick movement and it’s a bit of a recipe for nausea, really, for a lot of people. Some of the slower pace titles I could imagine probably getting picked up in the future and given a polish. Whether the Facebook will do it, I’m not convinced they will. I think they’d expect other studios to do that sort of thing.

UploadVR: Myst is one of those ones that just hit Quest and it was sort of built, seemed to be rebuilt from the ground up for VR. At least that’s how it felt inside there. And they’d had a lot of those best practices in place where you can fast travel up the ladder and snap turning and all those things to make it a really comfortable experience. And like you said, it’s slow. There’s no jumping. There’s a lot of titles out there that could get that treatment going back to the beginning of gaming. It seems like a low price way of bulking up some of the offerings out there, if you could really get those great comfort settings in there and bring some of those old titles. I guess I’m surprised it’s not more common than it is.

DrBeef: I think I am to some extent as well. I’m also slightly surprised that there are other developers churning out ports. It’s an odd one, really, because there’s plenty of very talented developers out there who are more than capable of picking up the SDK and wrapping these games in the VR SDK and releasing them. They’re also not happening with any sort of frequency. So I don’t know. Maybe there’s just no appetite for revisiting some of these old engines and bringing them to VR. A lot of the ports that we’ve done on the Quest, they have counterparts on PC VR anyway. So these are sort of already reasonably popular on the PC. So having a Quest variant isn’t that surprising.

How Popular Are Your Ports?

UploadVR: Do you have any sense of how many people have downloaded your ports at this point? Can you break it down in any way?

DrBeef: There’s pretty detailed stats on Sidquest. I must admit I haven’t actually looked at that recently. Doom 3 that’s at, must be, well over 30,000 downloads by this stage. I’ve not actually checked the figures recently. I know Lambda 1 VR, which is the sort of Half-Life implementation that must be over about a hundred thousand downloads by now. And then there’s QuestZDoom. I think that was very popular. You know, all in there’s probably hundreds of thousands of downloads, whether they’re unique to the number of people that have played them or not, I’m not sure. It’s got a surprisingly large reach.

Where Do You Recommend People Start With VR Development?

UploadVR: We have lots of people out there that are just getting into VR for the first time. You’re an established software developer to begin with, but I guess I’m wondering if you can provide any advice for people out there that would want to make VR games or even port their passion project, what should they do? And what routes would they take to do that?

DrBeef: Unless they’re an existing software developer, I wouldn’t recommend trying to do a sort of port of an old engine. I think that would probably be a step too far, but, you know, just downloading something like Unity and just having to play around, not being afraid to make mistakes, you know? Cause I mean I can’t count the number of times I’ve bodged something up and broken all the code and, you know, had another go in and a few attempts later, it starts working and that’s the moment you think, yes, I’ve done it. Just give it a try. It’s amazing what you can throw together in these things. I must admit I’m no Unity developer myself. You see some of the projects on Sidequest and they’re just brilliant and they’re one person, you know, in their bedroom, tinkering away on these things and, you know, just go for it. You never know, it might be a future career in the makings.

What Are You Working On Next?

UploadVR: What are you working on now with regards to your VR hobby? And what do you want to work on in the next few months?

DrBeef: Right now I’ve been very fortunate to have been sent a bHaptics, haptic vest, and armbands, and the head thing as well. So at the moment we’re looking at incorporating haptic feedback for the vest, et cetera, into Doom 3 and some of the other ports as well, very excited. I mean, it’s a great piece of kit so it’s going to be great fun once that gets up and running. So that’s currently the in progress piece of hobby work going on. After that, uh, that’s a very good question. I’m not exactly sure what the next thing’s going to be. When we finished Doom 3, I was saying, I’m going to take a bit of a break now, then, bHaptics got in touch. So looking at that, it’s kind of fun and a little bit different. After that, I don’t know. I’m inclined to wait awhile and see how things go with Facebook and Sidequest and App Lab and what direction things take. I’ve got a couple of ports in mind that I might have a tinker around with. And I know BaggyG who’s one of the members of the Team Beef, if you will, is also looking at a couple of things themselves. So, you know, there’s stuff going on in the background, but I wouldn’t want to commit to anything at this stage. You know, you don’t want to get people’s hopes up.

Are You Submitting Quake To App Lab?

UploadVR: Have you submitted Quake to App Lab or is there an immediate intention to do that?

DrBeef: No. So I got halfway through the App Lab application and then realized that we were going to have to create things like screenshots and video footage and that’s where it started to become, you know, can we really do this kind of situation? That’s when there was the, the very brief Twitter conversation with John Carmack, and at that point, put the application process on hold. So yeah, wait and see. So people can still access it through Sidequest, so it’s not like it’s gone away.

UploadVR: It makes sense. Facebook seems to respond at least indirectly in some ways to the community, they’re gonna make their decisions based on what’s in the best interests of Facebook, but I’m sure there is an appetite for App Lab, getting great ports onto the Quest without having to have a PC involved in the process. There’s gotta be an appetite out there for those. I guess the community out there watching this, is there anything they can do to support or ensure that these things happen more often?

DrBeef: That’s a good question. I must admit, I don’t really know the answer to that one. I think if, again, going back to the Oculus Quest subreddit, it does seem that a number of Oculus employees are reasonably frequent visitors and they do listen to the community. How much of a sway they then subsequently can have internally within Facebook it’s difficult to say now. So I don’t really know how much of an impact the community can make on trying to get these ports onto App Lab or even the main store.

UploadVR: That makes sense. Well, thank you so much for the time. We’ve got DrBeef in our studio. Thank you so much for joining us and hopefully we can have you on in the future. And on behalf of our viewers out there who I’m sure have loved your ports, I’ve loved it, thank you for bringing them to VR and they’re incredibly fun. So thank you.

DrBeef: Yep. Thank you very much.

Peco Peco’s Design Lead On Building A Unique VR Puzzle Game

Last week I (virtually) sat down with Julien Dorra, the Creative Tech & Design Lead of indie VR startup Bentham Realities.

They’re a small team building a unique VR puzzler called Peco Peco.

We talked about spatial puzzles, app lab, designing for VR, indie development, and more.


“Two years ago, we wanted to start our own studio and start to do our own kind of digital objects. And then we saw that VR was at a crossroads with the Quest. We had done some projects in VR, myself and Benjamin, for clients, but we never did our own VR project, had our own ideas and our own terms. There is a new territory to explore.”

Can you talk about your approach to interaction design?

“When you solve a flat puzzle, a traditional puzzle, obviously it’s tangible, but the world is kind of flattened. So that’s why in Peco Peco nearly all models are quite big. So really you feel that they are here and they are not this flat thing on your screen. We want people to enjoy these 3D models. We see them on the web, we see them on Instagram, we see them on Sketchfab – and they are beautiful – but we cannot reach out to them.”


You’re one of the first developers to apply to App Lab after the launch lineup. Do you plan to use this as your distribution method and market on SideQuest?

“Apparently we were the first one to submit after the launches announcement. We were really expecting this launch, so as soon as it was open we submitted.

When they first announced the Quest, it was supposed to be like the Go. An open market, a bit like the App Store on iPhone or Android. And then the change for more restrictive. It was a bit the first surprise I think a lot of people in the industry, this switch. We started to work on our project before the switch.

We are already listed on SideQuest. We plan to change our listing to preferably direct people to App Lab, just because it’s easier for them.”


You’ve been engaging with real VR gamers and bringing this out to them and trying to build on what they’re telling you. And what are they telling you so far?

“Obviously, we had the usual quality-of-life feedback. For example, people wanting to play seated-only asking us for a better way to manipulate things. I think it’s a classic in VR because you want things to be tangible, and you want people to be able to move. But you have to think also about the seated players, people that don’t want to move or can’t move – quality-of-life and accessibility. So that’s one category of feedback – I want to play, but maybe I’m not that tall and I want to reach a very high piece. So that’s something we already integrated. We lowered the height of higher pieces.

Another one is, please give us more content. People want to dream & to think that a game will have more things coming. One thing we did from the beginning is that we didn’t want to think about the content as something you deliver with the game in the traditional way. For us, the core of the game, the app itself, is just an engine. And so you can get the content over the air. And when you add new content, it magically appears. Players are going to see it instantly, as soon as we added in the game without updating anything.”


If you do have success in App Lab, this seems very likely to get the store from, from what I’ve played. Have you had any communication from Facebook about that? Have they said anything like “talk to us when it’s six months further and development, you have this amount of users” or is it all kind of opaque there?

“They have this kind of fear that if they give out some criteria in advance, people are going to try to cater to those criteria. I had some discussion with people inside Oculus, even some higher up people, and what they told me is that they don’t know what’s going to be a success in VR. They have their own biases like everybody, but did they try to lower their biases and they want to be surprised. In fact, they told me they were humbled by Beat Saber at the beginning because nobody at Oculus predicted that something like Beat Saber would be a huge success.

So they still have this thing in mind that Beat Saber was a surprise for them and they expect to be surprised again. So hopefully we will be able to surprise them and show them that yeah, there is a lot of people wanting to play puzzles. And maybe it’s not the same type of players that they’re used to. There is a wide range of games possible and there is really not a lot of puzzles. I think there is like 5 games, maybe 6 in the category of puzzles. So compared to mobile or even PC that’s not a lot of puzzles. And you have so many games where you have to shoot people. I think we could balance a bit.

That’s one feedback we had from players: I like a game that is not going to rush me into playing and I can play as long or as little as they want.”


It feels like this could also be part of a new space of multiplayer titles that do that. Is it technically feasible that I could six months or a year from now sit in one of these environments with a friend and together we could work it out, and part of the puzzle solving experience could be that sort of social aspect?

“We think Peco Peco would be really great as a social game. I think there is two aspects of social.

The first aspect is very soon we want people to be able to share their custom cuts. So if you for example cut a very simple but very interesting puzzle for kids, because you want a eight years old to be ability to play and you find that most of the cuts are maybe a bit too difficult for them. Or maybe you want to create crazy cuts. At the moment the puzzle with the most pieces is 181 pieces, which is nearly two hours to solve. We want you to be able to share your own kits. And we are working on that right now. This is the asynchronous social aspect which I think is very important for VR. We can create something for others and share it with the community and then the community can play it and give you feedback.

The second thing is, as you said, real-time multiplayer. Being able to invite you in my session and maybe you could help me solve this huge puzzle because it’s beautiful, but it’s so many pieces and it would be good to have some help. That’s actually something real life puzzle players do. They gather around a puzzle and they solve it together. That’s something we are going to add in the next, probably three to six months. The engine is totally ready for that. Peco Peco will be multiplayer that’s that’s for sure. But again, we are a small team, so we have to get the core gameplay and the core content right first.”


Have you thought about spectator modes that could use a companion app or some other method so that people could watch the entire puzzle overview and maybe even help out from outside VR?

“It’s interesting that you ask that because just this morning we thought about how we could add a third person camera following the player from different angles. I think streamers today are very frustrated in the way on the Quest they can only show the first person view and we actually want to do something for that.

As far as I remember Oculus said they are going to offer a third party camera view in their app at some point. And probably an API. But there is another way to do that, I think, using the mixed reality camera, because the mixed reality camera basically is just another camera. And we think we can use that to show players and to help streamers stream other angles.

Another way to do that is to use a web view, for example, and to just project – not as a video but some data and then reconstruct the view on the web.”


What strikes me about this game is that it seems like it will be perfect for mixed reality as well. Is that something you’ve prototyped on any early mixed reality headsets?

“We had players recording themselves in mixed reality. We created an app just for mixed reality capture. And you can see that yeah, it could work as a mixed reality thig where the puzzle is inside your room and you play with.

Given a consumer headset, that could be something that puzzle lovers would buy. Like, okay, I’m going to buy an AR headset to play Peco Peco or other puzzle games.

If you do something great in VR, that has this opportunity to also an AR game. You can be ready for the next step. But it’s a bit down the road.”


So right now the controller is used to give precise input, which is critical for a puzzle game because you don’t want to be placing the pieces in the wrong place, just because your room lighting isn’t good. But have you explored hand tracking in this game? Did your prototypes find it’s too frustrating or is it something that you’re working on in the long term?

“Obviously we want to add hand tracking at a point. But as a small team we have to focus. At the moment I think there is two issues.

The first one is hand tracking is not good enough. You can lose tracking. Sometimes the clicks are not detected. Better cameras, faster cameras on the headset would maybe help solving that and I’m sure Oculus is working on that. But it has to be a more stable so people never miss any movement.

The second thing is we don’t really have standards. That’s a paradox. It seems that hand tracking could be very natural. But in fact, from apps to app, from game to game, you have to do very different things to interact with the objects. So teleporting, for example, if you look at the games in the store they use like three different way to activate the teleport. It’s too much. One single way would be better.

I think we are we’re at the beginning and as a small team, we have to wait and see, and make it work for everybody first.”


How do you decide what to work on next and what are the priorities. Is it going to be based on player feedback, or do you have a roadmap in your head?

“I think every developer, every game designer, uses both. You have to listen to your players and the good thing is they can be very surprising. They can teach you a lot about what is the real need for your game for them. But you also have to have this vision and priorities set because you know where you want to go.

For us Peco Peco is not only a game, it’s also a new way to interact with 3D creations. Really you build a familiarity with the model. You build a relationship because you’re interacting with it. For example when you snap the top of the, of the lighthouse the wheel is going to turn and in this model, the boat is going to move. So really you get to connect with the model. That’s part of our vision. This is something we think about, uh, when we decide what to do

A surprising example, or maybe something we, we, we didn’t think immediately as a priority; one of our early testers, he’s passionate about cutting new puzzle and sharing them. He gives us this feedback: I really want to be able to save a cut and go back and finish the cut later. That’s not something we thought was so important at the beginning. So that’s something we took from the lower position in the pile and we put it on top because this very early user passionate about cutting said okay, I’m frustrated by that. And if you do that, I will, it will be so much better for me I will share with you so many more cuts.”


Say next year, or the year after that, a new VR or mixed reality platform releases a new headset that starts to sell. What are the conditions that would need to be satisfied to make you as a developer decide, okay, I’m going to be on two platforms and this is going to be the next one. What needs to happen for there to be kind of an effective Quest competitor for you also to also be releasing on?

“For a small team it’s hard to focus on several platforms at a time. Obviously we chose the Quest being very simple to use and accessible, allowing us to reach a lot of players. Probably the most important factor is support. If you go to be on a new platform, you have to support it in terms of a human relationship with your player.

Obviously that could be true too on PSVR on PlayStation. So we could maybe at some point target PlayStation because it’s one single box. If it works for the developer it works for the player too. We want to expand, but I think the most important thing is again, support. Will we be able to support these new players the way they need to be supported?


Peco Peco is available as part of the $19 ‘Waiting For App Lab’ bundle, or on its own from Itch.io.

Now that we have UploadVR Studios running well in standalone VR with hand tracking & good audio quality, we plan to conduct many more interviews throughout the year. If you’re a VR developer interested in being interviewed, reach out on Twitter or email.

Schell Games Talks I Expect You To Die 2 And VR’s Future

Schell Games seems unique among VR developers.

Yes, the Pittsburgh-based studio puts out games to please the masses but, for Schell, that’s only one small part of a wider VR strategy. Educational VR content is a big focus for the team which, for example, and a long history of working with the tech helps CEO Jesse Schell speak from a place of authority when he surveys the future of the industry. It’s also now working on that almost-unheard of thing; a sequel to a very successful VR game.

In another words, Schell has a lot to talk about.

So we sat down with Schell and IEYTD2 project director, Charlie Amis, over a webcall. Below is our full transcript covering the origins of the new game, the direction Quest 2 is taking VR, and where we might be in the next five years.


Upload: Hi both, great to be talking with you. How are you holding up with the current state of things?

Charlie Amis:  I’m glad the pandemic happened back March and not now. Because now we’ve got some good systems, we’re all a little bit more used to it and we needed some stability.

I know it’s a weird time, but at least it’s a little bit expected as to what’s happening and how people are running their lives these days.

Upload: Has all of I Expect You To Die 2 been developed under the pandemic then?

Amis: Just about, we went through a concept phase beforehand in kind of the fall of 2019. And then we went into alpha on our first level the day we all headed home

Upload: This is very interesting because I just realized, I had been thinking about this completely obliviously. My first question was going to be – did you build physical sets again, like you did for the first one, but then I’ve just remembered that you were all isolating and that can’t of happened.

Amis: There’s a couple of pieces. One is because of the first game, we had a lot more in-engine, ready to go prototyping abilities. So if we wanted to make something quick, we could just use a lot of those systems we already had.

However, in cases of wanting to rapidly and cooperatively make a level design — a set — especially one that’s in a first-person VR perspective, we used a couple of other tools like SculptrVR. We were using ScluptrVR a little bit while still at the studio. Kind of just as an experiment to see what it would feel like to cooperatively build some things and found that– well, obviously we didn’t make anything we would then be able to like import it into Unity or even want to do that.

But it did get us very quickly to realize we were thinking of different spaces or the scale of spaces was often in our imaginations and by all being in there and like the sitting in the seats like: “Oh yeah, I see it. We should see a little bit of the wing over to our left and if the cabin’s this big, like that could work.” So it got us to like a vision alignment way, way faster.

Upload: It does sound like something that wouldn’t have been possible had the pandemic happened back in 2016, 2015, when you were working on the first game. It’s very fortunate that more of this VR technology had moved forward and I guess some of your own development techniques as well would have helped with that, right?

Jesse Schell: Yeah. I think in general, we’ve found that during the pandemic, working from home is really hard when you’re trying to spin something new up. But when you got momentum on something and everybody can kind of go home and do it, and everybody’s already on the same page and everybody already has a sense of best practices? Those are the projects that have been easier to do during the pandemic.

So yeah, if we were trying to birth this thing in this sort of separated from home world, I think we would have struggled a lot. And so we feel very blessed to be able to work on something that already has such strong momentum

Upload: So would it be fair to say that, because of the pandemic, I Expect You To Die 2 exists, would it have been maybe another product that we’d be talking about right now if you’d all been in the office for the past year?

Schell: I don’t think so. We’d started that beforehand, right Charlie?,

Amis: We had, we started it right after we finished with the last level of the first game. And that was still in the like September of 2019, when we had a few months of just a very small team putting together the idea for this. And then we’re like, “All right, we’re ready to build it!” Then it was: “Everybody go home.”

Schell: And I think a better way to put it as I Expect You To Die is an unstoppable force that even a pandemic can’t shut down.

Upload: Talking about those new development techniques and everything, then, so much has happened in VR in the past, four years. Things like Boneworks have come along and really kind of pushed forward physics. I’d love to know– obviously you guys, kept iterating on that first game and kept adding those new levels, but is there stuff in this game that you’re tapping into? Development techniques that we’ve seen in the past, like two or three years coming about that we didn’t really know about in 2016?

Schell: Well, I mean, I guess I’d put out there, one of the big changes for us is the presence of the Quest, right? It used to be, we went on in this assuming “Oh yeah. PC VR is going to be– that’s where you start, and maybe you do something else.” And the Quest is the center of the VR universe right now, and it has certain limitations.

And so definitely, in terms of what’s had an effect on our development is making things that can excel and be excellent within the constraints of the Quest. That’s something that is very different than when we started the original game.

I Expect You To Die 2 Levels (1)

Upload: That’s gonna happen a big impact on it, for sure. But you can also go the other way then with Quest and say, “Well, at the same time, players won’t have a wire, so maybe our design can be a little freer.” Is that something that you guys considered? Or was it because you’re also potentially coming to PC and PSVR, you have to keep within those constraints as well.

Amis: Yeah, we certainly want the largest group of people to be able to play this. So it was important to us to support even still wired headsets. At the same time, we know that Quest players love to explore the space, and for the original game, if you get up out your seat and walk around it wasn’t really designed to do that.

So we’ve tried to keep that in mind. How will we handle that? Well, how can we create scenarios that are fun in Quests but don’t break for wired devices or front-facing devices like the PSVR? I think we’ve found a good space where if you loved the original, you’re really gonna love the second one, but there are a lot of iterative improvements; new things, quality of life features that make it even better.

Schell: And as much as moving around is fun, like Charlie says it can be limiting for some people. Like I know I have a hard time in the way my house is set up finding a space that’s 10 foot by 10 foot clear space. That’s a real challenge.

And so there are games I ended up shying away from because I don’t really have that space. So we know that the less space required the more likely people are going to drop in and try it. And then further, the nature of a puzzle game in some ways is better suited to a seated experience because something that happens in puzzle games is there are times you have to stop and think. And you just have to be kind of “Ooh, what am I going to do?”

And if you have to stand up while you’re doing that, you start to become a little conscious of it. You start to get fidgety, you start to feel like– you just don’t feel great about yourself. But if you’re kind of seated and you can kind of lean back and play with some of the virtual toys in the environment. It’s almost like you cozy into the world.

I know that sounds a little weird. And so it’s a thing we think about. So like for us, the big contrast is I Expect You To Die versus Until You Fall, our sword fighting game, which that one’s very, very much being about on your feet and taking advantage of the energy that you have on your feet.

This is much more about playing with the contrast of sometimes on relaxing, but then sometimes a tense moment, but now back to relaxing again. It’s interesting, but we questioned do we want to stay seated for the second game, but after kind of going through it, we felt now that feels like part of what this is about.

Upload: And what was it about the response to the first game that led you to greenlight this game, essentially? I mean, obviously we know from your stories in the past that it’s made a bunch of money, but apart from that– stuff like player retention or any kinds of interesting stats there that you might have found were like unique to your game in VR, perhaps that really showed the encouraging signs for a sequel.

Schell: Well we were seeing that people loved it. Because when the game first came out, it only had four levels. And we started just dropping free levels onto it. We added level five, level six, level seven onto it, one by one, not paid DLC, just free to keep people interested, keep people talking. And then further, we always just try to help the game find its right size, you know, and doing that– that game came out four years ago and it’s kept people’s interests. It’s kept people excited about it.

And sort of seeing that we could add levels and it would work gave us huge confidence that adding a sequel could work well.

Upload: Take me through some of the stats for this one. How many levels are you guys expecting there to be at launch and are there plans for post-launch drops again and whatnot?

Schell: So yeah we’re not quite ready to talk about exactly what all is going to be in the new game, but that we’ll be talking about that soon. As for post-launch levels, I think that’s a thing we’re still trying to decide and trying to figure out.

Because previously we were dropping those levels just because, you know, we were sort of spinning the thing up from nothing and here we’re able to do things a little differently than we were had done before.

So I think we’re going to wait and see, and a lot depends on what happens with the Quest market over the coming year, how are things going.

Amis: One of the goals for the project was for it to have kind of a cinematic feeling of like being in a spy movie. And so it was less about number of levels and the way the first one was where it was really easy to add a new scenario. This one was really built from the beginning as a single whole to feel like one experience, as opposed to episodic. And I think that’s really gonna come through and be part of what makes it feel like a sequel too.

Upload: Were there any kind of comments, criticisms about the first one that you’re trying to improve on here? I mean the first one is very much a trial and error based thing, but that sounds like that really resonated with players the first time round.

Amis: So a lot of experimentation went into the first one and we have some levels that stress certain kind of puzzle-solving or kind of action like our submarine level has a lot more time-based actions, really close interactions. And the lodge level is much more kind of role-playing and spatial. The puzzles are a bit easier and they kind of tell a story.

And we found in asking people, what’s your favorite level from the first game? There was some camps of people who love the lodge and maybe they never died, they beat it first try, but had a great experience and really dislike the submarine because they had to keep playing it over and over again.

And then the opposite – people that loved the challenge of submarine and if they don’t die in a level it’s too easy, not interested.

This time around, we tried to smooth that out a bit so that it appeals to both of those camps in different ways. It’s really important to me that people don’t get stuck and frustrated, put the game down for a while and maybe never come back. I’d rather them all finish even if one or two puzzles are a little easy but the solve was clever, it was cool, it resulted in a big explosion or fun moment and they get all the way through and have that experience that they can share with their friends rather than I was fine until I got stuck and I gave up.

Upload: Yeah. I mean that’s interesting because one of the great challenges with VR puzzle games, I think is– we were talking earlier about how you get stuck, you need to think, and you’re standing up and you get fidgety. I get immensely frustrated. And actually one of the biggest drivers of VR nausea for me is confusion.

And when I’m in a VR puzzle experience and I don’t know what I’m doing I just get hot headed and I immediately don’t want to be there essentially. So it’s good to hear you talk about that because I do think the first game was actually pretty successful when navigating some of those issues in the first place, but it’s something to really think about, isn’t it?

I Expect You To Die 2 Levels (2)

Schell: Oh yeah definitely. And what we’ve tried, all along through the whole cycle of all these games, is constantly looking for what do people actually like? What do they actually enjoy? And you can’t just go in with preconceived notions about it. You have to have people play and you watch it and you see what they like.

And it’s often things that don’t seem important, like the sandwich and the fact that you know, that you bring it to your mouth and you can eat the sandwich. Like that wasn’t a thing that we came in with. What happened was we put a sandwich in as a prop because it seemed appropriate.

And then we saw people would try and eat it. And when they couldn’t, they would be disappointed. So, “Oh, okay. What if we add that?” And, and so, so much of the game happens that way. What do people want to do? What are they trying to do in here? And let’s see if we can support that as we, as we learn about it.

And it doesn’t always mean that it’s what we thought it was going to be. But by doing that over and over and over, eventually you get something where people are very comfortable because all the things they try and do are supported.

Amis: That’s the primary design direction for our alternate solves, our souvenirs, for some of the extra ways you can solve things. We try not to design those and instead have the playtesters, you know, try out things. And then when they try something that we don’t support, we go “Oh, let’s support that one.” The likelihood that someone else is going to try that is so much more likely than if we designed a thing that we thought was clever.

Schell: And it takes so much patience. Like I remember on the first game we put in a champagne bottle as a prop and people were like, “Oh, great. I want to open it!” Oh, of course you do. Okay. Now it’s got a cork and you can open it. “Now I want to pour out the liquid into a glass!” Of course you do, now we’ve got to support liquid. Okay. All right. We’re supporting liquid now and “Great I poured it out and I can drink this champagne and that’s so cool. Now I’ve got an empty bottle. I want to break it.” Oh, of course you do. Okay. So now there’s a broken glass. “Oh, okay, I want to take this broken glass, use it as a knife and cut this wire.” Oh, of course you do. Now this is impacting our puzzles, but oh, okay, actually, that’s kind of an interesting side solve that maybe we didn’t think of and think about.

And so you just keep going and going and going down this road and you do enough of that and things feel really good.

Upload: That’s what VR development is though, especially for guys like you, that started at the very beginning. You’re building almost an encyclopedia of reality and the next time someone wants to interact with glass, you’ve already gone and done that work. If you wanted to, you can make a whole game around smashing glass now or whatever.

Schell: And I would say it’s so it’s funny. You can point quite directly. The submarine level, which we did later. That was one of the last ones that we did that we initially did, but it has a lot of fluids in it. It’s got fuel and you’re getting flooded and all of that. And that all came from the champagne bottle in the first level. Because we start realized we needed fluids to support that champagne play and that opened up a door for fluid puzzles in the later levels. So yeah, I think exactly what you described is true. That as we develop these new modules and ways of working, we can kind of– we look at them and say, “Oh, well, how can we, how can we make use of that?”

Upload: Let’s move on to some of the kind of more industry-focused topics then. I mean, sticking with the game, would it exist if it wasn’t for Quest and Quest 2? Would you be making this or would you have packed your bags and left VR by now, do you think?

Schell: Oh man, there’s a question. I don’t know if we would have made the level of investment that we’re making into the sequel if Quest wasn’t where it is. It’s an interesting question. Where would VR be right now if that hadn’t happened? And that’s actually a little hard to know for certain.

I certainly think it would have made us more conservative. I think we might’ve taken a slower path with this or looked for publisher support instead of doing it independently. Or maybe we would have waited to see a little longer. I’m not sure, but without a doubt, I think this title coming out, the amount of investment we’re putting into it and the timeline that it’s on, that wouldn’t be happening without the Quest.

Upload: I was going back over some of the interviews we’ve had with you in the past today. And there were things like you predicted maybe Quests would sell a million units in 2019, that VR uptake hadn’t perhaps quite been what you would have expected that to have been at that point in 2019.

And now it seems to potentially maybe even gone almost the other way with the release, especially of the Quest 2, which is such almost an unnaturally good bit of value as a piece of hardware, right that it’s, single-handedly moving the curve like that.

Schell: Yeah, I think that’s exactly right. I made some predictions a few years ago about how VR was going to play out and it’s been going more slowly than I had predicted. But then at the same time, the Quest has taken it the other direction and the growth that is happening due to that platform is going faster than what I predicted.

So while we all– I’ve always referred to the PC VR console VR, I refer to that stuff as parasite VR. Even when you had the Google Cardboard, those are all devices, PCs, and phones and game consoles, none of those were designed for VR and VR is kind of parasiting onto them.

But the Quest is different. It was designed for VR. This is designed for this specific purpose and is meeting that purpose really, really well. And so while I predicted that that was the future, that that’s where things were going, I didn’t think it would be adopted this fast. I didn’t think the price point would be this low. And I certainly didn’t think we’d see such a change in the buying and playing behavior because that’s, this is something that I think a lot of people aren’t aware of.

It’s not just that a lot of Quest units, a lot of Quest headsets are being sold. The people who have a Quest buy more games and play more games than people on PSVR or on PC VR and as a result that makes it just a great environment for developers because you move more units and people are engaging with your game more.

Upload: And I feel like along with the hardware and the price point, that’s also, a result of some potentially controversial policies like, you know, curation on, on Quest was especially tight right out the door for the store. It’s something I wanted to ask you about — as great as it is with Quest out the door and doing so well, I don’t know where to look for competition at the moment in the VR market. A couple of days ago, I was thinking about if Google would have hung in there for another year or two, they might have been, you know, up there competing with Quest 2 right now.

I want to ask how much of a concern that is for you guys at this point. And, I guess maybe where you think– if you think competition’s coming in the next year or two and how important it is to you.

Schell: Man this is a great question. We would love competition in this space. Because as a developer, when there’s competing console makers or platform holders, you basically have an opportunity to kind of pit them against each other a little bit and kind of figure out “Which one’s better for me.” And the market starts to segment and all of that happens.

That is definitely not where we are right now. We’re in a place where Oculus is kind of the dominant– the only force in this situation. And it’s a great platform and they’re managing it super well and you mentioned how they curated very strongly. And honestly, as a developer, that’s spectacular because when you throw the gates wide, suddenly you’ve got games sold for 20 cents and it becomes this bloodbath.

Whereas when it’s well-curated, if you’re in the store with high-quality stuff, you can make clearer predictions about how your title’s going to do, and it gives you a lot more confidence. And so you can build higher quality titles because you can invest more because you have a better chance of knowing you’re going to do well.

So for this time, that part’s really great. We all hope the competition’s coming. It seems like it has to, because other people are going to see what’s happening here. They’re going to see how successful this is. Where it’s going to come from is not clear. We just had CES go by and we haven’t really seen, nobody showed up and said “Ta-da! Here we are with the new thing, that’s going to really compete with it strongly.”

Because I think it kind of caught a lot of people in their back foot. They watched the Oculus Go and then watched it go. And they said, “Well, there it goes.” And it didn’t impress anybody. And then the Quest came after that people thought this is going to be another Go.

Nope, it’s something else. So it’ll be really interesting to see, but it feels like Oculus has, I don’t know, at least a year in order to kind of take hold of this market. It’ll be very interesting to see who shows up in a strong way. Everyone’s speculating, like is Sony going to make a move? Is Apple gonna make a move? Is it going to be some Asian company is going to suddenly appear with a headset that’s really going to catch people’s interest?

Because it’s not trivial, you have to show up with a headset that works great, but then you also have to have the store and then you have to have relationships with developers and there’s a lot to it. So we’re all very excited to see what happens next.

Jesse Schell Oculus Quest 2

Upload: I mean, something I’m looking forward to, as you know, as the industry grows is moving beyond gaming and the other types of VR content out there can really start to flourish, hopefully. And obviously that’s something that you guys are interested in with your education apps and whatnot. You put one out recently and I’d love to know, you know, where your headspace is with that kind of content right now. Like, do you have expectations for that kind of software you put out there? Is it meeting those expectations? Do you again, do you want that to go faster? Is it going faster than you expected or is it going slower than you expected?

Schell: Yeah VR is a tool for education. It’s an incredible tool for that. However, practically, so far that’s been in the realm of experimentation, the platforms that have been out, the PSVR and the Vive, the Quest, none of them are particularly friendly to educational institutions. None of them are designed for that. So that’s a little bit of an uphill battle market-wise to figure that out, but that’s going to come, that’s going to happen.

Our focus has been on let’s figure out what’s actually possible and let’s find ways to make stuff that’s good and see how that– does it work? We have looked at this less as let’s go in on educational stuff cause we know it’s going to make money now, but rather let’s figure out the right way to do this so when the market is there, we’re already experts in the space and we’re ready to go and able to just start making great content.

So we already did Hololab Champions, which is our chemistry lab VR experience. And then we did History Makers where you get to become these historical personages and then you make speeches.

Now it doesn’t sound very exciting because it’s not a game, really it’s a creative tool. It basically lets you become these animated characters and make speeches and pop them out to YouTube. So again, just more of a creative tool to use. So for us, the educational stuff is more experimental, but educational games has always been a really important part of what we do at Schell Games.

We think there’s a huge future in it. So we’re not too concerned that that’s just not the hottest part of the industry right now.

Upload: Just summing up then it it’d be great to hear from the both of you in, let’s say let’s look five years out, considering everything that’s happened in the past two years, the way that Quest has changed the game. Are you positive about the outlook for VR in the next five years? Do you have predictions about where we might be? Are you concerned about pitfalls that we might fall into in the next 12 or so months? Or what, what are you looking forward to essentially?

Amis: I’m excited for more people getting into it. Like, I feel like the Quest 2 already is an amazing piece of magical hardware that most people don’t even know exists. And if they just get it on their head, they will have that eye-opening moment that, you know, I had playing an early, wired Rift. So I think that’s likely the biggest change that’ll happen in the coming years is obviously the hardware will get better, the prices will be great, and there’ll be more and more compelling games in the library.

But the biggest change that I want to see and I think will happen is having it become ubiquitous having it be just about everywhere and for sites that cover games to always have a VR section. Then it’s just, “Oh yeah, that’s another way of playing games now.”

Or it’s another way of hanging out socially or it’s another way of working. There’s some really good telecommuting software in VR. I think that’s, that’s, what’s likely to happen that doesn’t require some like massive advancement in technology.

Schell: One thing I think about, I often think about the number of 10 million as being a really important number because when there’s 10 million of something out in the world, Probably one of your friends has it. And when there’s less than 10 million, probably none of your friends has it. And VR is in that less than 10 million zone right now. So even if you get a headset, probably none of your friends has it. And what that means is your ability to use it in a social way is really limited. You can interact with people, but it’s going to be with people you don’t know they’re going to be strangers and you can do that.

But as we’ve seen with social media, et cetera, most of the powerful interactions happen with people you know. So when VR can cross that 10 million mark so that anytime somebody buys it, some of their friends already have it, you get this snowball effect and we’ve seen it in PC. We’ve seen it in mobile.

Like this is a real phenomenon and it’s going to be coming within the next five years. That’s certainly true. It’s just the debate, is that four years from now? Is it two years from now? When is it? Because once that happens, then you start to get powerful multiplayer experiences that people really engage with.

And that’s important because we talk about spatial immersion in VR, I really feel like I’m in a space, and we talked about hand immersion, I really feel like I’m manipulating things with my hands, but then there’s also a really powerful social immersion, when you feel like someone else is in the space with you. And it’s a stronger, more intimate connection than we’ve had in any other media.

It’s stronger than the connection you have playing flat screen games. It’s stronger than just having a zoom phone call. There’s something really special in it. And I think it’s really going to stick with people. And one of the things I always think about is the people who own a technology are the people who are teenagers when it comes out.

They’re the ones that are going to own that technology for the rest of their life. People who are older than that, they can kind of start to use it but they don’t own it in the same way. And just like we watch Roblox right now. You watch these kids doing Roblox. Most adult gamers have no concept of Roblox.

And when they see it, they’re like, that looks ugly and weird, but it is this force, right? People say, “Oh, the metaverse one day, we’re going to have these social things happening online and people building worlds.” Like, it’s happening now in there.

So what I feel like we’re seeing is you’ve got these 10 to 15 year olds who were in there playing Roblox in a couple of years they’re going to start to be able to afford and start to try VR. And when that 10 million markets crossed, they’re going to be like, “Where’s my VR Roblox?” And we’re going to start to see these user-generated content societies start to kind of form and become really solid and really powerful because of the way people will be able to interact and connect.

How Oculus Quest Saved Jesse Schell’s VR Predictions

In 2019, VR wasn’t where Jesse Schell thought it would be.

We all know this story; slow uptake of PC VR headsets and the modest launch of Sony’s PSVR didn’t measure up to the analyst projections and business bets. Even decades of experience in VR — spanning all the way back to his time at Disney Imagineering in the mid-90’s — hadn’t given the Schell Games CEO the insight to buck that trend. He admitted as much to Upload when we spoke in January 2019.

In that same interview, though, Schell cited a new hope in Facebook’s Oculus Quest. The then-soon-to-launch standalone headset represented a turning point for the VR industry, doing away with the need for PCs and consoles. And so Schell once again made a bet on the speed of VR’s growth.

Today he says he was wrong again – this time in a good way.

“I made some predictions a few years ago about how VR was going to play out and it’s been going more slowly than I had predicted,” Schell says over a web call. “But then at the same time, the Quest has taken it the other direction and the growth that is happening due to that platform is going faster than what I predicted.”

Sales stats for Quest and the recently-launched Quest 2 aren’t known, though Schell Games’ Until You Fall and I Expect You To Die have both generated more than $1 million in revenue on the platform. It’s encouraging enough that Schell is investing in a sequel to the latter, due to hit headsets later this year. That’s something the company isn’t sure it would have done so boldly were it not for the new platform.

“[Quest] is designed for this specific purpose and is meeting that purpose really, really well,” the developer continued. “And so while I predicted that that was the future, that that’s where things were going, I didn’t think it would be adopted this fast. I didn’t think the price point would be this low. And I certainly didn’t think we’d see such a change in the buying and playing behavior because that’s, this is something that I think a lot of people aren’t aware of.”

This is key. Much of the focus behind VR developer success stories has been paid to how well Quest is selling. But it’s not just that there are lots of units out there, Schell says, its also that owners are buying lots of content. “The people who have a Quest buy more games and play more games than people on PSVR or on PC VR and as a result that makes it just a great environment for developers because you move more units and people are engaging with your game more.”

Schell’s also supportive of Facebook’s strict curation policy for the platform, which he says has helped drive those strong sales, but expresses concern about the company being “the only force” in VR right now. Quest, he says, caught people on the backfoot after other headsets failed to capture the market. “They watched the Oculus Go and then watched it go. And they said, ‘Well, there it goes.’ And it didn’t impress anybody. And then the Quest came after that people thought this is going to be another Go.”

Jesse Schell

It’s a sequence of events that Schell thinks has bought Facebook “at least a year” to take hold of the market.

One thing Schell is sure of now, though, is that VR will make it to mainstream. It might be three years, it might be five, but he’s certain headsets like Quest will get to a point that they sell 10 million units. Why such a specific number? “When there’s 10 million of something out in the world, probably one of your friends has it,” Schell reasons. “And when there’s less than 10 million, probably none of your friends has it. And VR is in that less than 10 million zone right now.”

Reaching the milestone is critical for where Schell sees VR going next. “One of the things I always think about is the people who own a technology are the people who are teenagers when it comes out,” he says. “They’re the ones that are going to own that technology for the rest of their life. People who are older than that, they can kind of start to use it but they don’t own it in the same way.”

One day, Schell reasons, it’s that audience that will popularize the content that will really set VR apart. “You watch these kids doing Roblox. Most adult gamers have no concept of Roblox and when they see it, they’re like, that looks ugly and weird, but it is this force, right? People say, ‘Oh, the metaverse. One day, we’re going to have these social things happening online and people building worlds.’ Like, it’s happening now in there.”

“So what I feel like we’re seeing is you’ve got these 10 to 15 year olds who were in there playing Roblox in a couple of years they’re going to start to be able to afford and start to try VR. And when that 10 million mark gets crossed, they’re going to be like, ‘Where’s my VR Roblox?’ And we’re going to start to see these user-generated content societies start to kind of form and become really solid and really powerful because of the way people will be able to interact and connect.”

Developers Speak On Why Oculus Quest App Lab Is A Big Deal For The Future Of VR

Facebook revealed Oculus App Lab this week, a non-store distribution path for VR developers to make their games easily accessible to consumers even if they’re not fully ready for the official store. This will allow for demos, paid Early Access content, and more experimental apps you wouldn’t find on the main store.

When the service launched this week it debuted with 12 new VR games and apps from indie developers. After trying them all we reached out to those developers and others in the indie VR community that are submitted their projects to App Lab to gain some insight into what the process is like and what developers at the forefront of its launch think about the future of Quest and VR as a whole.


 

QUESTION: Why do you think App Lab is an important avenue for developers to have? Is this a significant new feature?


Azad Balabanian, Puzzling Places & realities.io (out now on App Lab)

The most notable change that App Lab has introduced is streamlining the process for people to install games and apps that aren’t on the official Oculus Store without going through the hassle of creating a developer account and sideloading apps. These “concept” apps are also represented alongside official App Store apps in the Library instead of being hidden in the “Unknown Sources” section.

It has also created a more direct avenue for developers to publish “concept” versions of their games/apps in the hopes of gaining approval to be able to publish in the official Oculus Quest Store that is more grounded in numbers and analytics instead of it being solely up to Oculus.

Diego Martin, Crisis VRigade and Crisis VRigade 2 (both out on App Lab)

In VR, Quest it’s the most important and growing market nowadays, so a way to include Apps without a strict curation process is an incentive to all the indie developer community.

Eric Thullen, Ancient Dungeon Beta (out now on App Lab)

In my opinion this is a significant feature as it basically removes the hassle of installing apps that have not yet been accepted into the official store. Everyone will be able to quickly install new apps and the barrier of entry is significantly reduced. I think developers will see their user base grow because of that.

Greg Dziemidowicz, MarineVerse Cup (out now on App Lab)

For us, it’s a way to develop our app in “Early Access” process. It’s not for everyone, but in our case we have an existing community and an organic demand via Google Search, so being able to directly monetize on Oculus Quest platform is a big deal. Also, our users will be able to install directly without SideLoading, which is again a big deal, as not everyone in our community is comfortable with SideLoading.

Mr. Potam, Smash Drums VR (out now on App Lab)

I think it was definitely the missing piece in the indie VR dev arsenal, if you wanted to make a commercial game. For my demo, as a paid app, I didn’t have to suffer going through itch.io, but I can imagine how clunky it could have been for non-US residents devs (tax wise). The ability to get your revenue from Oculus and their EU-based subsidiary is HUGE!

Apart from that, and the ease of use for players who want to download the demo, I love being able to use Oculus Platform services, especially the leaderboards, and being able to have “login free” leaderboards, whereas traditional SQ apps featuring non-anonymous leaderboards had to handle an additional sign-up process.

Gerald McAlister, Play Bunker

The hope going forward with App Lab for us is that smaller, more experimental games from us can now be launched to a much wider audience. Previously, we’ve held off on these since it was hard to determine if we would be able to make money from them, which has really hindered what we’d experiment with. Going forward, we expect to see a lot of new games and experiences thanks to the fact that developers can now reliably make money!

Blake Gross, Rhythm ‘n Bullets

Sideloading caused a lot of friction in getting users to play or even test our games. The ability to have access to release channels alone is huge in enabling us to iterate quickly on the games we’re developing. Additionally, we now have access to the Oculus Platform API’s, which means we can start developing on them early for things like multiplayer or leaderboards rather than having to seek out third party solutions.


 

oculus quest unlisted app distribution app lab

QUESTION: How was the process of getting an app onto App Lab versus the traditional store versus SideQuest?


Azad Balabanian, Puzzling Places & realities.io (out now on App Lab)

On the technical side of things, getting an app published on SideQuest and App Lab are similar.

To publish on SideQuest, you need to provide a build for them to test, a listing with a logo, screenshots, banner, description, etc. Typically the approval process only takes a day or two and the SideQuest developers are very approachable to discuss any issues that might come up. They also allow for developers to publish unlisted apps (which we use for internal testing purposes).

With App Lab, the requirements are similar to SideQuest but might be more demanding with the quality of content that they’ll want to host. They have more requirements for visual assets, such as the logo in various sizes and aspect ratios, specific amount of screenshots, a trailer, etc. Their technical requirements are also a bit tighter to make sure the experiences run at performance. It’s not unlikely that there will be a lot more apps and experiences published on SideQuest than on App Lab in the long run.

As for publishing to the Oculus Quest Store, I think the requirements for publishing are even higher. We are still working on getting approval to publish the Puzzling Places game on the official store, so we hope Puzzling Places – Beta will help us get one step closer to that goal.

Diego Martin, Crisis VRigade and Crisis VRigade 2 (both out on App Lab)

We find it very similar to getting in the traditional store. The only disadvantage I see is about the review time it takes the Oculus people to validate each change you make to the store: price, description, new update, store screenshots… it can be from 2 days to 2 weeks, and sometimes it feels very long. At Steam for example you have to pass a review the first time you upload your game, but all the following updates just pass straight forward.

Eric Thullen, Ancient Dungeon Beta (out now on App Lab)

In general the process was more involved because Facebook has a few quality requirements that an app has to pass before being accepted. Stuff like consistent framerate, no crashes, etc is required. This makes it a bit more involved compared to just releasing on SideQuest which has a lot less requirements. Also, the verification of the app takes a lot longer than on SideQuest. I’d say it’s around 1-2 weeks from submission until it is accepted, compared to SideQuest which is mostly just one day of waiting.

Greg Dziemidowicz, MarineVerse Cup (out now on App Lab)

It’s similar, however requirements required to pass the Store Review are less strict. Otherwise, you are using the same tools/platform you would use to submit a normal app to the Store.

Gerald McAlister, Play Bunker

So we have been working on Play Bunker for about 9 months now, and originally started it on the Oculus Rift using Oculus’ Platform APIs intensively. We then optimized it for the Oculus Go, but shuttered that when they shuttered that store. Thanks to those optimizations + our previous work on the Oculus Rift however, we were able to get an alpha build up on the store within 30 minutes and test it. We haven’t submitted it to the public App Lab yet, but we can let you know how that goes once it’s done.

Blake Gross, Rhythm ‘n Bullets

SideQuest allows most content on their platform, regardless of quality. App Lab has stricter requirements around app quality, especially via their VRCs. We were fortunate that our game was already configured to pass most of the VRC’s from our earlier release on Rift, but if a SideQuest developer wasn’t adhering to those guidelines, it would be more work to get on the platform.


 

QUESTION: Why do you think this is important for consumers?


Diego Martin, Crisis VRigade and Crisis VRigade 2 (both out on App Lab)

It’s an easier method for them (us). And as the apps appear in the main list feels more reliable than sideloading (under “unknown sources”).

Eric Thullen, Ancient Dungeon Beta (out now on App Lab)

I think it’s important for consumers because they are able to experience a lot more experiences on their Quest than before. Since they’re not limited to the highly curated store anymore, they can find a lot more potential games and experiences that interest them.

Greg Dziemidowicz, MarineVerse Cup (out now on App Lab)

More diverse range of apps will be available. It will be easier and safer to get those diverse apps. Overall, we should see a lot of “niche” apps that would not be accepted yet on the mainstore, but will be no available to consumers via a direct link.

Mr. Potam, Smash Drums VR (out now on App Lab)

Many consumers didn’t want to sideload, or were afraid of it. And I understand them. From now on, they now have the option to discover new experiences, so it’s a big plus for everyone.

Gerald McAlister, Play Bunker

This will ultimately see a huge influx of new games and apps for everyone, and make them much easier to access than before. Whereas developers previously needed to host their titles on their own servers, Oculus is now able to host it for developers, meaning that you can install it without ever connecting your headset to a PC. This opens the doors to a whole new set of experiences that Oculus might not normally take the risk on!

Blake Gross, Rhythm ‘n Bullets

For one thing it’s just easier. Like we mentioned, even convincing close friends to sideload our games was tricky, so having an official release function makes sharing apps and games in development much easier. Additionally, Oculus is a trusted store for consumers, whereas buying an apk to sideload itch isn’t something that most consumers are familiar with. We hope this leads to more discoverability of apps and games that customers would be able to experience otherwise.


 

Oculus Quest 2 Elite Battery Strap Review Featured

QUESTION: Do you think this will have a net positive or net negative impact on the overall quality of VR apps/games released?


Azad Balabanian, Puzzling Places & realities.io (out now on App Lab)

It’s definitely a net positive for the Quest users to have access to more content with less hoops to jump through. We’ve had to walk our parents through signing up for an Oculus Developer account just for them to be able to sideload the app and play our game, realizing how daunting that still is for a more general audience. We’re certainly happy that that’s changing.

In terms of overall quality of content, we truly hope that the impact that App Lab has for the Quest content ecosystem is for more interesting and unorthodox ideas to be able to publish on the Oculus Quest Store.

SideQuest played an extremely important role over the last two years in providing Quest users with a plethora of new and experimental content to play, especially at a time where the Oculus Quest Store content library was quite limited. SideQuest also became an incredible way for developers to publish concepts and prototypes to gain real-world validation of their unproven ideas before committing to years of development. This was definitely a pivotal element for the development of Puzzling Places.

Overall, we hope that App Lab heralds a more open and explorative time for Oculus Quest in general, making more room for novel ideas and giving players a voice in what they want to see on the Oculus App Store.

Diego Martin, Crisis VRigade and Crisis VRigade 2 (both out on App Lab)

The more the merrier and I think it’s better to leave up to the player choosing what they like more. I’m sure there are a bunch of very successful games that none curator would have bet for. And having some technical bar to pass sometimes playing games it’s not as much about quality as it is about fun.

Eric Thullen, Ancient Dungeon Beta (out now on App Lab)

I think the quality will remain the same as before (in the beginning at least). The games will still be advertised from other sources such as SideQuest, and the AppLab basically just makes the installation easier so I don’t think it will have a big impact, since developers were always able to publish what they want via Sideloading. What I do think however, is that basic requirements that Facebook checks (like constant framerate, etc) will potentially give all apps a minimum quality bar that they need to pass.

Greg Dziemidowicz, MarineVerse Cup (out now on App Lab)

It’s probably a good middle ground. For consumers looking for “polished” apps, the main store is the place to be. Some of the App Lab apps will be probably very polished, just niche. Others, like MarineVerse Cup – will be still in development. But consumers will have more choice, and those who would enjoy being part of the development process ( enabling users to provide feedback and influence direction ) – will be able to do it.

Mr. Potam, Smash Drums VR (out now on App Lab)

I have no idea, and can think of as many reasons it would go one way or the other. But I’d be willing to think it will be positive overall for the Official Store: when more games come out on the App Lab, I’m sure some will stand out and I believe that it will create new standards of quality, even for “official store” games. “Look, App Lab can do this, so you have to align!”

Gerald McAlister, Play Bunker

This is something we’ve been having intense discussions about for the past week now, and I think it depends: On the one hand, Oculus does let developers choose their own pricing (though they will make recommendations too if they think it should be priced differently). This introduces the risk of seeing the store flooded with shovel ware. On the other hand, because they aren’t being marketed by Oculus, this means that bad games won’t have good visibility.

This also makes websites like SideQuest, UploadVR, and Road to VR even more important, as they will be the gatekeepers for quality. I think the ultimate way this will be decided is based on how those 3 sites in particular choose to focus what content is shown off.

Blake Gross, Rhythm ‘n Bullets

Definitely a net positive. Having an avenue that is official will allow more smaller VR titles to get the attention they are missing. Additionally, the Oculus Quest review pitch process is notoriously difficult to pass; this definitely seems like it can help even the playing field and provide a new path to even wider distribution.


Are you a VR developer that’s working on something for Quest you have submitted or plan on submitted for App Lab? Let us know down in the comments or shoot us an email at tips@uploadvr.com!

A Wake Inn Interview: Pulling Those VR Horror Strings

A Wake Inn

VR Bros has been steadily releasing new details for its upcoming horror title A Wake Inn after the first teaser trailer dropped last summer. With the launch slated for ‘early 2021’ for PC VR headsets, the team were kind enough to have a chat with VRFocus to understand a little more about what makes A Wake Inn tick.

A Wake Inn

If you’re unaware of A Wake Inn, the horror title takes place in the mysterious Silver Inn Hotel, owned by a Dr. Finnegan. Rather than a decedent place to spend the weekend this hotel is far more menacing. Mainly because you’ve woken up as a human-sized doll confined to a wheelchair, and you’re not the only mechanised being roaming the halls.

So this begged the question, what was the inspiration behind A Wake Inn and its story? “The core of the plot is based in “modern” sci-fi issues told inside of a setting from a century ago. The vision of abandoned art deco style hotel and bio/steampunk esthetics was our leitmotiv from the very beginning,” VR Bros responded. “We wanted to create a coherent world, where gameplay and story make one consistent whole, and players thrown into a vague situation could unravel their own meaning in this world. One can focus just on the main storyline and push events forward, or sink into exploration and reveal a more detailed picture of past events.”

A good story is one thing but there are a multitude of VR horror titles because the genre works so well, so they all need a little something to stand out from the crowd, jump scares just aren’t enough anymore.

On that particular point, the team noted that: “Horror is a highly involving genre – it ought to dose suspense and keep the user’s attention on the medium in which the player is in. The immersiveness of A Wake Inn comes from a peculiar locomotion system, in which the player is bound to a wheelchair, and interactivity of the environment, which helps to engage in the events participated by the player. On the other hand, we also limited the capacity of the inventory which spices up the gameplay, adding a flavour of survival, with the necessity of using the exhaustible battery-powered flashlight giving it a cherry on the top.”

A Wake Inn

VR Bros has covered the mechanics of its wheelchair locomotion in a previous video, a unique way to navigate the hotel whilst ensuring a comfortable experience for most players. As it turns out this was the intention from the beginning: “Wheelchair mechanics was the base concept and the step from which the whole game design started to emerge,” the team revealed.

“The player steers by spinning wheels using controllers as they would in reality while sitting in a chair for the whole gameplay. This element makes A Wake Inn available also for players with disabilities. Remember though – limitation brings consequences,” they continued. “You cannot use stairs – be ready for dealing with elevators and their power system. Also, reaching for objects is hindered, so we added a grabbing arm extension, which allows you to pick up objects lying on high shelves, or on the floor. It was a starting point for experience based on manual interactions with objects inside of the game’s universe. Although, for players’ convenience, we added two other control options – one with a joystick, which is visibly placed on the wheelchair and also a traditional teleport.”

When asked about interactivity and how A Wake Inn keeps players grounded in the experience VR Bros explained that: “We meant to make A Wake Inn driven by narration and exploration. We decided to create an experience not distracted by HUD and conventional interface elements to squeeze the immersive potential of VR. Each action taken by a player – using objects, solving environmental puzzles, or even saving – takes place in “physical” space of the game. No windows, no context menus. It may be a bit counterintuitive at the beginning, but we hope people who seek for unique adventures in VR will appreciate this approach.”

A Wake Inn

As the videogame looks like it’ll feature some interesting side content VR Bros has said it’ll include additional elements to flesh out this mysterious world. “We also implemented fully functional radio stations with over 3 hours of broadcasts, and cinema projectors where you can play tapes found around the hotel, which deliver some additional pieces of information about the world, as well as additional content, both with authentic footage from the era and our own recordings,” the team responded. “Another prop which we are proud of is a handheld radio, used to contact with doctor Finnegan – the only friendly soul in an unfriendly and soulless land. You can press the button and listen to his advice, or commentary about the actual place. It was a lot of fun doing it and we hope it helps our game to get that little bit of individual personality.”

Like any good story-driven VR experience a single playthrough may not be enough and investigative players will be rewarded should they do so: “We put a lot of effort in creating the main plot and background story for the game. The past events are not explained directly, so they have to be assembled from bits of info located on notes, diaries, and props left by former inhabitants of this building. More inquisitive players may replay the game to put those pieces together and, richer with experiences from the first walkthrough, reveal the secret of the Silver Inn Hotel in Tiny Ferry.”

A Wake Inn is expected to arrive soon for HTC Vive, Oculus Rift and Valve Index headsets. For further updates on this horror experience, keep reading VRFocus.

Land Of Amara: How This Farming Sim Aims To Plant The Seed To Be Like Stardew Valley VR

In this feature we investigate how Paw Stamp Studio aims to recreate the simple farming pleasures of Stardew Valley in VR with their in-development game, Land of Amara.

Note: This game has been in development for several years and has undergone significant changes. The images and videos embedded in this article may not represent the game’s final version.

Land of Amara

Developing a game is a lot like farmwork. At least, that’s what Finn Pinkenburg discovered when he created Paw Stamp Studio and started his debut game, the VR farm simulator Land of Amara. It’s based on Pinkenburg’s love of games such as Harvest Moon and Stardew Valley, but like with starting a new game of Stardew Valley, Pinkenburg quickly realized the magnitude of the task ahead of him.

“I changed or completely reworked the project a lot of times and changed direction because I realized things weren’t working the way I wanted them to or the project wasn’t scalable,” Pinkenburg said. “That’s because I learned [game] development while doing it and made a lot of mistakes (and still am making quite a lot of mistakes). But it’s becoming better and better.”

Before founding Paw Stamp Studio Pinkenburg worked as a level designer for Quantum Frog Software in Hamburg, Germany. He became interested in programming after a while, which opened a new door for him.

 

land of amara giant hand

“I realized I’d like to make something on my own because it’s totally a different thing when you do something for other people’s ideas instead of pursuing your own vision,” Pinkenburg said.

That vision was rooted in VR almost from the beginning. Pinkenburg first started tinkering with various test builds on PC, starting with an AI-controlled sheep. Shortly after that the seed for his idea sprouted and he purchased his first VR set, the Oculus Rift DK2, just to see how challenging VR development was.

The ease of creating a scene and, moreover, experiencing what Pinkenburg calls “real 3D” convinced him it was time to nurture his project in earnest.

“It was super easy,” Pinkenburg said of his first small VR development attempts. “You basically only had to exchange the camera rig to see everything in 3D. When I saw the sheep in front of me in 3D, I was blown away. It’s hard to describe. That’s when I decided to start Land of Amara and haven’t stopped since.”

Despite his newfound determination, Land of Amara was still very much a vulnerable seedling at that point.

“The project didn’t start with a vision of what it should become,” Pinkenburg said. “The only thing that was there was my experience playing games I always loved, like Stardew Valley and Harvest Moon. I had a goal to do something similar, but because I wasn’t aware I wanted to make my vision a fully playable game.”

He started a Land of Amara Patreon account in August 2018 to gauge interest in the project. The positive fan response — which Pinkenburg attributes to the absence of AAA developers in VR — encouraged him to continue, and in 2019, he brought a friend on board to help with design so he could handle programming. That’s when the difficulties started.

Like planning a new field, figuring out Land of Amara’s foundational features became Pinkenburg’s first challenge.

“I learned you can’t just go for things, since everything is a separate system on its own,” he said. 

The first few builds released, including 2018’s playable demo, focused on testing prototypes and contained no actual gameplay systems. The latest playable version, released December 20, 2020, is the first with recognizable farming gameplay loops and a host of additional improvements, such as a tutorial system, new scenes, and a stamina system. It’s also laying the groundwork for relationships with NPCs through a new gift-giving mechanic. Additional systems leading to deeper relationships are still a ways off, though, since they aren’t as crucial for shaping the core experience.

stardew valley screenshot
Stardew Valley

Stardew Valley VR Ambitions

One thing Pinkenburg said he loves most about farm-sim games and wants to focus on is how, if designed well, they make simple grinding tasks feel worthwhile.       

“I always felt Stardew Valley has a good balance between grinding and not giving you the feel it was grinding, when in the end, everything is grinding,” he said. “Relationships are a grinding system because of how you approach the townspeople every day. But it doesn’t feel like it because the end goal is a good way of making the grind feel rewarding. The same is true for other tasks like feeding the animals.”

Skill-based activities form another important element Pinkenburg wants to include, and he used Stardew Valley’s fishing as an example. While you can buy upgrades to make fishing easier, skill and learning the system ultimately determine success.

“You cannot lose the skill,” he said. “You gain it and always have it. So even if you start a new Stardew Valley game, you’re still good at fishing.”

Though he has a few physics-related ideas in mind, Pinkenburg said he’s not sure what kind of skill-based mechanics he wants for Land of Amara just yet. 

However, adding gameplay elements with such evident similarities to existing games presents another challenge: balancing the heritage crops with the new hybrids. While Pinkenburg said he believes familiar mechanics feel fresh in VR just because players have to use them differently, he still isn’t satisfied with grafting other ideas onto Land of Amara.

“I don’t like copying things.I initially tried too hard to be different [with Land of Amara], and that caused my development progress to stop in some ways,” Pinkenburg said. “But I realized it’s way too hard to learn [game development] and re-invent the wheel at the same time. I think it’s pretty much impossible not to copy something from other games anyway.”

land of amara floating island

Pinkenburg used fishing as an example again. Land of Amara’s current fishing mode has players casting their line into the clouds beneath their island, but it’s mechanically similar to Stardew Valley’s fishing. Players use their hands to reel the line in and try to keep it in the sweet spot long enough to catch the fish. 

It’s good enough — for now. Pinkenburg said he wants Land of Amara’s mechanics to stand out for more than just using VR physics and plans on overhauling them in future builds.

Speaking of VR mechanics, Pinkenburg ran into a bit of a quandary shortly after starting Land of Amara’s development, one that had far-reaching effects.

One thing Pinkenburg appreciates about VR is how it removes the extra interface between player and game. 

“There was always something in between with other games, like a controller or keyboard, that converted actions,” he said. “VR doesn’t have that restriction, so the brain directly understands how things work because we know how to use our hands and how throwing works or how to chop a tree. That’s a huge difference, this instant transition into the game with your bare hands.”

That’s all well and good, but Pinkenburg soon realized it doesn’t make for a relaxing farming experience.

“I realized there are only a VR few games where you can just sit in your chair and chill while playing,” he said. “Imagine a game like Stardew Valley you sometimes play for hours in a row, and you have to move all the time. That would be way too exhausting. You should be able to play the game without doing anything physically, just sit in your chair and press one button again and again and get in this brain AFK mode.”

Pinkenburg took a four-month break from active updates earlier in 2020 to develop a solution to the problem, one that transformed both how he approaches Land of Amara and how players will experience it.

land of amara axe toolInstead of using a first-person approach with physics-based controls built in, Land of Amara now lets players swap between first and third person at will. First person uses movement and motion controls, while in third person players see their farmer and move them around with controls, just like Stardew Valley or Harvest Moon.

He said he’s confident Land of Amara’s graphics and VR’s real 3D will keep players immersed, even when playing in third person, and perhaps even more so because they can appreciate the music and other effects even more.

Pinkenburg has a few ideas in mind for Land of Amara’s music that he thinks will likely raise some eyebrows. Stardew Valley uses a blend of retro and synth, while Harvest Moon gets by with charming, bucolic tunes for each season. He plans on Land of Amara’s farmers handling their daily routine accompanied by a specific kind of hip hop.

“I listen to a lot of lo-fi music when programming, and I discovered lo-fi is quite fitting,” he said. “So I put in some low-fi tracks which in some way is uncommon. The bass in lo-fi hip hop is not really something I know from most other farming games. I’m interested to see people’s reactions when they hear hip hop lo-fi in the latest version.”

Pinkenburg knows lo-fi hip hop won’t match everyone’s tastes, though, and added a radio system in the most recent version so players can import their own downloads to the game for a custom soundtrack.


To keep up with Land of Amara’s development, consider pledging to the Patreon.

Myst VR: How Cyan Worlds Is Modernizing A PC Gaming Classic

Myst is often regarded as one of the most important and influential PC games of all-time for good reason. And now it’s coming to VR for the first time via the Oculus Quest on December 10th with Myst VR. A PC version with optional VR support is slated for 2021.

First released back in 1993, Cyan Worlds’ classic adventure game originally launched for Mac OS and spearheaded the boom of the CD-ROM. The game sees you travel to the island of Myst via a special book. Utilizing point-and-click mechanics, it became an incredible success with 6 million copies sold, leading to sequels, adaptations, and numerous ports, most recently on Nintendo Switch back in May. Remakes also followed that allowed for free roaming with further interactivity as well as a slew of follow-ups from other studios taking heavy inspiration.

Cyan Worlds’ first VR game, Obduction, is a sort of spiritual successor to Myst and applies many of the principles and ideas it popularized in the 90s to a modern VR game setting. Since then Cyan has published VR games like Zen and continues working on their next new project, Firmament. In the meantime though, we’re getting a full-blown remake of Myst specifically for VR

Confirmed this will be “built completely from the ground up for Oculus Quest”, this new edition also promises “modern art, sound, interactions, and optional puzzle randomization for those who are up for a greater challenge”.

It comes after news that their other VR project, Firmament, has been delayed until 2022, and recent years have seen the studio pushing virtual reality with Obduction, alongside their own publishing venture.  As such, we reached out for an interview with Cyan Worlds CEO, Rand Miller, who was kind enough to tell us more about this exciting new evolution of the classic IP. 

 

myst vr featured image

Myst VR: Modernizing a PC Gaming Classic

Henry Stockdale, UploadVR: Firstly, thank you for joining me here, I’m a big fan of the original Myst. For any readers unaware of your game, could you please introduce yourselves?

Rand Miller: Sure! I’m Rand Miller. My brother and I created the original Myst game in 1993. It did pretty well. I’m still actively involved in Cyan, the company we formed, and Cyan has continued to focus on creating narrative-rich, exploration games.

 

UploadVR: Myst is such an iconic adventure game, one we’ve seen numerous ports, sequels and remakes for previously. What inspired you to create a VR edition?

Miller: VR is just such a no-brainer for Myst. The whole idea of the game has always been to lose yourself in that virtual world. Over the years, the technology has provided better and better ways for us to make the experience more immersive – and VR is definitely a giant leap.

 

UploadVR: We previously saw Myst updated in 2014 with realMyst: Masterpiece Edition. Was there a reason you’ve built this VR edition from the ground up, as opposed to adding VR support for that?

Rand: 2014 is like 100 years ago in tech years. 🙂 Since that time we’ve learned a lot, and we’ve gained experience in various development environments. Our Creative Director Eric Anderson, and Development Director Hannah Gamiel both felt like it would be best for the product to build it from the ground up in the Unreal Engine. It was important for them that this Myst version not just include VR for various platforms, but that it serve as the graphical and interactive high water mark for all Myst versions moving forward, It truly is a complete reconstruction from the ground up.

 

myst vr clock bridge island

UploadVR: Compared to previous editions, how does Myst VR play, can we expect any big differences to gameplay?

Rand: There are quite a few variations from the original Myst. Most of them have to do with taking advantage of VR hand controllers and playing in VR space. For example, to enter the combination to the safe in the cabin the player doesn’t just push a button – they grab a knob and turn it. So much more natural. Also, VR necessitates building parts of the world differently – like making interactive items in an area that are easily reached whether players are standing or sitting. We didn’t want to force players to bend down to interact with controls. We also made some global choices on things like doors – they all slide to open and close. This avoids that VR frustration where you pull on a hinged door and it opens awkwardly into you.

 

UploadVR: It’s also been confirmed that the VR edition will feature optional puzzle randomisation. Can you give us more details about how this works?

Rand: When you start a new game you have the option to play the game without the solutions that have been around since the original version. I must admit that I love the fact that I have most of the puzzle solutions memorized, but it definitely means that I don’t really experience the full game. This option gives a little more opportunity to play Myst with fresh eyes.

 

UploadVR: Cyan Studios has built up a reputation within VR recently through games like Obduction and the upcoming Firmament, alongside your publishing arm Cyan Ventures. Your studio is clearly invested in the technology, but what are your thoughts on the current state of virtual reality?

Rand: When I experienced VR on a Vive for the first time several years ago, it was clear that it was something special. Not just the sense of being in a space with 6 degrees of freedom, but the incredible use of hand controllers. But of course it was still expensive enough to be somewhat of a niche market. From Cyan’s point of view, we weren’t as interested in compromising the Myst experience for VR that didn’t have 6DOF or hand controllers. We started making VR games (like Obduction) and we learned so much with the experience, but we continued to wait for a sweet spot that would have the power to present Myst well, with 6DOF and hand controls, at an accessible price point so we wouldn’t exclude large numbers of our fans. From our point of view, the Quest was a turning point. We feel like the Quest as a baseline for the current state of VR has made VR a viable option for indie developers like us, and we’re pivoting in various ways to see where VR leads.

 

myst vr cave

UploadVR: Was there anything you’ve learned from Obduction’s development that’s been applied here?

Rand: Where do I begin? We learned so much – the hard way. Probably the most important take-away was that designing the game for flat first, with VR in mind, was not ideal. It would have been much easier to implement the VR version by designing for VR with flat in mind. That’s the approach we’re taking with Myst, and with Firmament, our second Kickstarter game, and it’s already improved the development experience.

 

UploadVR: Within Cyan’s recent Kickstarter update, we were told that the innovations and optimizations being made for Myst would also benefit Firmament. Could you tell us how?

Rand: Well, so many ways. I’ll start with our art pipeline. We learned an amazing amount during Obduction and built some tools that helped streamline the asset production. But we took the entire exercise and based our Myst production on it, seeing how it played out in the whole process. As a result we’ve been able to tune our ability to build assets quickly and beautifully, but that still run well on various platforms. Myst has allowed us to test and hone that process. Then there is the variety of things we’re learning about interface elements in VR that started with Obduction and is proving valuable as we improve on Myst. These lessons are already playing a part in how Firmament is being developed.

 

UploadVR: So far, Myst is confirmed for Oculus Quest at launch on December 10th. Is this just for the original headset or can we expect an enhanced version on Quest 2?

Rand: The version of Myst that launches for Quest, plays even faster on the Quest 2, but it’s a similar experience. We’ll be looking into specific options for improvements for the Quest 2 after launch.

 

UploadVR: We know that the PC edition is planned to release after the Quest version launches, including 2D and Rift support, but when can we expect this to happen?

Rand: We can’t say for sure, but we’ve been building the high-end assets simultaneously to make the development of the other platforms relatively straightforward. With that said, I expect it’ll take several months to tune and polish the PC based VR and 2D versions.

 

myst vr radial table

UploadVR: Do you plan to release a PlayStation VR edition?

Rand: We’d love to release versions of Myst for as many platforms as we can. But as an indie company it’s wise for us to see how our planned versions do before making other specific commitments.

 

UploadVR: Lastly, is there any message you’d like to share with Myst’s fans?

Rand: We have the best fans in the world! We’ve waited to make Myst for VR until it could be experienced by as many of our fans as possible, and I can’t wait for them to experience Myst the way I’ve had the chance to for the last few months. The adventure becomes your world now more than ever!


Myst VR is slated to release first on Oculus Quest on December 10th. A PC version with optional VR support is slated for 2021.

Maskmaker VR Will Be A Bigger Game Than A Fisherman’s Tale

There’s still over a month of 2020 left to go (seriously, it won’t die) but we’re already looking towards what’s coming in 2021. One of the VR titles we’re most excited about is Maskmaker from A Fisherman’s Tale developer, InnerspaceVR.

It’s no secret that we were huge fans of the studio’s 2019 puzzling masterclass but, next year, the studio is going bigger. Maskmaker trades in the cramped confines of the lighthouse for a new world filled featuring lush biomes and, at the heart, a workshop to craft new magical masks. These mystic items can transport you to new worlds which, for the first time in an Innerspace experience, you’ll have full freedom to explore, solving puzzles and collecting resources for new masks along the way.

There’s a lot to learn about the game before its release next year, so we spoke to Balthazar Auxietre, Co-Founder and Creative Director of InnverspaceVR, to find out more about the project.

UploadVR: Where did the idea for Maskmaker come from? How does it build on the success of the Fisherman’s Tale?

Balthazar Auxietre: My father is a collector of masks and so I grew up surrounded by them. As a young boy, I used to spend a lot of time in his workshop, where they were stored. So the idea for Maskmaker came from my childhood, but it wasn’t until I discovered VR that I fully realized the potential masks could have in an interactive project. 

After making A Fisherman’s Tale, there were a lot of ideas left on the table and one of them was this concept of playing with magical masks. We were eager to move on to the next step of development, and we had the chance to meet the team at MWMi, who immediately supported the concept and the idea quickly became what is now Maskmaker. What I really like about masks is that they have something whimsical and wondrous about them, but also are a bit spooky, so Maskmaker became this dark fairy tale about masks and their magic. 

The tone of Maskmaker is different from Fisherman. From the beginning, we wanted to explore something a bit darker and mysterious, but in many ways there is a strong lineage between both games, both in our design approach and in the way we try to strike a balance between the gameplay mechanics and the overall storytelling to create something engaging that is different in many ways for the players. In Maskmaker, we wanted players to experience the feeling of being challenged by the puzzles, while being moved by the story and being visually amazed by the environments. 

UploadVR: It seems like you’re working with bigger environments than you have before? How are you tackling traversing those areas?

BA: Yes, for Maskmaker, we created a larger and a more open-ended universe for players to explore along with different levels – which are called ‘biomes’ – each having a strong and unique identity. The feeling of freedom and “awe” when exploring a huge landscape in VR can be exhilarating, so we wanted to tap into that feeling and surprise the players with each new biome they visit. 

It was quite new for us since our previous work was constrained in terms of movement, but being able to expand the world is also tied to the evolution of the hardware. When we shipped A Fisherman’s Tale, a good portion of the audience only had “front facing VR”, so we had to adapt to that, but now people (even with the older hardware) are more accustomed to moving around in VR so we were excited to expand the boundaries ourselves. We learned a lot from other games that use larger areas and tried to find what worked the best for Maskmaker. Pretty quickly we landed on using the same ‘classic’ model of a free-move/teleport combination, but there was a lot of work and iterations that went into the environments, as well as creating a navigation path to have something that felt good for both methods of locomotion.

UploadVR: How do puzzles work in the game? Are they anchored around a core hook as with A Fisherman’s Tale?

Maskmaker Desert

BA: In the beginning we had a similar design approach with Maskmaker as we did with Fisherman, but we tried to find Maskmaker’s own “core hook”, which became crafting and wearing a mask that will transport players into a specific and different character, in a specific situation. Since with Maskemaker, we were aiming for a longer gameplay experience with larger areas, we also used this core mechanic to focus on discovery and exploration rather than trying to make another puzzle focused game. In comparison to our previous work, Maskmaker is more of an adventure game than a puzzle game, in the strict sense.  The puzzles in Maskmaker appear for players across the different biomes, but the purpose of these puzzles is more to challenge the exploration of the players so they can discover new crafting components, and uncover the truth about the story. The puzzles have been designed specifically to match the type of “natural” environment and background story of each biome, so in that sense they’re more inherently connected to the level design than the individual puzzle set pieces. 

UploadVR: You’ve hinted a bit at the crafting mechanics before – how does this work? Will the player be actually making a mask themselves?

BA: Solving puzzles in the biomes gives players access to new materials such as feathers, pearls, shells, animal hairs, etc., which will help them craft new masks. The materials are specific to the cultural identity of each biome. Finding them is one of the main goals of the players’ exploration, as per finding the blueprints for each mask, they will be guided to the crafting component. As players progress, they will unlock new tools and develop their crafting skills to make more and more elaborate masks, by sculpting, painting, and mixing the materials. We wanted to give the feeling of being a real craftsman in VR, which adds a really interesting sandbox component to the game. 

As a maskmaker’s apprentice, players will have to master the art of crafting step by step. As they become more advanced with their crafting skills, they’ll be able to make more and more complex masks which will help them discover the truth about this world. Once they become a true maskmaker, they will be able to craft a mask of their own design.

UploadVR: Roughly how big is the game this time around? Are you aiming for a similar scope to A Fisherman’s Tale?

Maskmaker Snow

BA: The number one piece of feedback we had for A Fisherman’s Tale was that it was too short, so with Maskmaker we’ve been working hard to make a richer, more extensive adventure. Which means it will be a less linear experience in a more open-ended universe, with the total gameplay time set to be around 4 hours.

UploadVR: Any update on when in 2021 the game might be ready?

We are currently working around the clock! Production has not been easy during the pandemic, but we just passed the beta stage. We are looking forward to releasing the game soon and are eager for people to experience our magical masks!


Maskmaker comes to PC VR including Steam and also PSVR next year.

Maskmaker VR Will Be A Bigger Game Than A Fisherman’s Tale

There’s still over a month of 2020 left to go (seriously, it won’t die) but we’re already looking towards what’s coming in 2021. One of the VR titles we’re most excited about is Maskmaker from A Fisherman’s Tale developer, InnerspaceVR.

It’s no secret that we were huge fans of the studio’s 2019 puzzling masterclass but, next year, the studio is going bigger. Maskmaker trades in the cramped confines of the lighthouse for a new world filled featuring lush biomes and, at the heart, a workshop to craft new magical masks. These mystic items can transport you to new worlds which, for the first time in an Innerspace experience, you’ll have full freedom to explore, solving puzzles and collecting resources for new masks along the way.

There’s a lot to learn about the game before its release next year, so we spoke to Balthazar Auxietre, Co-Founder and Creative Director of InnverspaceVR, to find out more about the project.

UploadVR: Where did the idea for Maskmaker come from? How does it build on the success of the Fisherman’s Tale?

Balthazar Auxietre: My father is a collector of masks and so I grew up surrounded by them. As a young boy, I used to spend a lot of time in his workshop, where they were stored. So the idea for Maskmaker came from my childhood, but it wasn’t until I discovered VR that I fully realized the potential masks could have in an interactive project. 

After making A Fisherman’s Tale, there were a lot of ideas left on the table and one of them was this concept of playing with magical masks. We were eager to move on to the next step of development, and we had the chance to meet the team at MWMi, who immediately supported the concept and the idea quickly became what is now Maskmaker. What I really like about masks is that they have something whimsical and wondrous about them, but also are a bit spooky, so Maskmaker became this dark fairy tale about masks and their magic. 

The tone of Maskmaker is different from Fisherman. From the beginning, we wanted to explore something a bit darker and mysterious, but in many ways there is a strong lineage between both games, both in our design approach and in the way we try to strike a balance between the gameplay mechanics and the overall storytelling to create something engaging that is different in many ways for the players. In Maskmaker, we wanted players to experience the feeling of being challenged by the puzzles, while being moved by the story and being visually amazed by the environments. 

UploadVR: It seems like you’re working with bigger environments than you have before? How are you tackling traversing those areas?

BA: Yes, for Maskmaker, we created a larger and a more open-ended universe for players to explore along with different levels – which are called ‘biomes’ – each having a strong and unique identity. The feeling of freedom and “awe” when exploring a huge landscape in VR can be exhilarating, so we wanted to tap into that feeling and surprise the players with each new biome they visit. 

It was quite new for us since our previous work was constrained in terms of movement, but being able to expand the world is also tied to the evolution of the hardware. When we shipped A Fisherman’s Tale, a good portion of the audience only had “front facing VR”, so we had to adapt to that, but now people (even with the older hardware) are more accustomed to moving around in VR so we were excited to expand the boundaries ourselves. We learned a lot from other games that use larger areas and tried to find what worked the best for Maskmaker. Pretty quickly we landed on using the same ‘classic’ model of a free-move/teleport combination, but there was a lot of work and iterations that went into the environments, as well as creating a navigation path to have something that felt good for both methods of locomotion.

UploadVR: How do puzzles work in the game? Are they anchored around a core hook as with A Fisherman’s Tale?

Maskmaker Desert

BA: In the beginning we had a similar design approach with Maskmaker as we did with Fisherman, but we tried to find Maskmaker’s own “core hook”, which became crafting and wearing a mask that will transport players into a specific and different character, in a specific situation. Since with Maskemaker, we were aiming for a longer gameplay experience with larger areas, we also used this core mechanic to focus on discovery and exploration rather than trying to make another puzzle focused game. In comparison to our previous work, Maskmaker is more of an adventure game than a puzzle game, in the strict sense.  The puzzles in Maskmaker appear for players across the different biomes, but the purpose of these puzzles is more to challenge the exploration of the players so they can discover new crafting components, and uncover the truth about the story. The puzzles have been designed specifically to match the type of “natural” environment and background story of each biome, so in that sense they’re more inherently connected to the level design than the individual puzzle set pieces. 

UploadVR: You’ve hinted a bit at the crafting mechanics before – how does this work? Will the player be actually making a mask themselves?

BA: Solving puzzles in the biomes gives players access to new materials such as feathers, pearls, shells, animal hairs, etc., which will help them craft new masks. The materials are specific to the cultural identity of each biome. Finding them is one of the main goals of the players’ exploration, as per finding the blueprints for each mask, they will be guided to the crafting component. As players progress, they will unlock new tools and develop their crafting skills to make more and more elaborate masks, by sculpting, painting, and mixing the materials. We wanted to give the feeling of being a real craftsman in VR, which adds a really interesting sandbox component to the game. 

As a maskmaker’s apprentice, players will have to master the art of crafting step by step. As they become more advanced with their crafting skills, they’ll be able to make more and more complex masks which will help them discover the truth about this world. Once they become a true maskmaker, they will be able to craft a mask of their own design.

UploadVR: Roughly how big is the game this time around? Are you aiming for a similar scope to A Fisherman’s Tale?

Maskmaker Snow

BA: The number one piece of feedback we had for A Fisherman’s Tale was that it was too short, so with Maskmaker we’ve been working hard to make a richer, more extensive adventure. Which means it will be a less linear experience in a more open-ended universe, with the total gameplay time set to be around 4 hours.

UploadVR: Any update on when in 2021 the game might be ready?

We are currently working around the clock! Production has not been easy during the pandemic, but we just passed the beta stage. We are looking forward to releasing the game soon and are eager for people to experience our magical masks!


Maskmaker comes to PC VR including Steam and also PSVR next year.