Hue is a Heartbreakingly Beautiful VR Experience About Sadness and Color

Hue is a Heartbreakingly Beautiful VR Experience About Sadness and Color

Hue is very sad. I know this without a single line of dialogue, narration or exposition. The moment this tall, gangly young man appeared before me inside an Oculus Rift VR headset I could feel melancholy pouring out from every pixel of his black and white frame. Yes, Hue is certainly very sad, but with your help he might manage to feel just a little bit better.

Everything about Hue as a project exudes character and purpose. There’s an almost Tim Burton feel to the look of Hue himself, his environments and his friends. The art style embraces black and white imagery, a technique that is underemployed by VR studios today, to incredible effect. When you step into Hue’s world you are also transported into his emotional state by the incredible visuals.

The art was carefully chosen by Hue’s creators: Marry the Moon — a VR studio looking to make a splash. We got to meet some of the studio’s staff and try the experience for ourselves at a Unity press event in San Francisco. The event brought together many of the VR experiences that were selected to appear at this year’s Sundance Film Festival.

Hue is experienced on an Oculus Rift using its Touch controllers. Using your hands, you can grab Hue by the hand and lead him around his study to various points of interest as the story progresses via a piece of wonderful narration performed by David Strathairn (Good Night and Good Luck). Your goal is never explicitly stated, but in the presence of such a glum human being your motivations become naturally clear: let’s see if we can cheer this guy up.

Eventually, your efforts pay off and, with a little help from Hue’s own shadow and a couple of fuzzy friends, you are able to introduce a bit of happiness, represented by a very subtle yellow that leaks into the black and grey, back into his life.

It may be tempting to reduce Hue to a simple commentary on the realities of clinical depression but the project’s creator, director Nicole McDonald, made it clear during our demo that Hue is not a depressed person. He’s just a regular man in the midst of a very sad point in his life.

This difference between sadness and depression may seem arbitrary to some, but it makes the entire experience infinitely more accessible. Depression is an incredibly serious issue, but it is not one that affects everyone. All of us, however, have had a sad day. Tackling the mundane simplicity of sadness in such a creative, artistic and poetic way makes Hue’s story accessible to every person, and that makes the entire experience all the more impactful.

In addition to the striking visuals and deftly crafted narrative, Hue also features an incredible use of color. Being inside a VR headset and watching a black and white image start to fill with color is such an emotionally powerful moment. McDonald explained that color is perhaps the most important story tool for Hue. As his story progresses, more and more colors will be added until what was once a very morose world is converted into something bright and full of life.

The demo we saw was built specifically for Sundance and represents just a small part of Hue’s journey. Marry the Moon is currently seeking funding to complete the tale.

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‘Life of Us’: An Embodied & Social Story of Human Evolution

Aaron-KoblinWithin premiered their first real-time rendered, interactive experience at Sundance New Frontier this year with Life of Us, which is the story of life on the planet as told through embodying a series of characters who are evolving into humans. The experience is somewhere between a film and game, and ends up feeling much like a theme park ride. There’s an on-rails narrative story being told, but there’s also opportunities to throw objects, swim or fly around, control a fire-breathing dragon, and interact with another person who has joined you on the experience. You learn about which new character you’re embodying by watching the other person embody that creature with you, and the modulation of your voice also changes with each new character deepening your sense of embodiment and presence.

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I had a chance to catch up with Within CTO and co-founder Aaron Koblin at Sundance to talk about their design process, overcoming the uncanny valley of voice modulation delays, how the environment is a primary feature of VR experiences, and how their background in large-scale museum installations inspires their work in virtual reality.

Koblin also talks quite a bit about finding that balance between the storytelling of a film and interaction of a game, and how Life of Us is their first serious investigation into that hybrid form that VR provides. He compares this type of VR storytelling to the experience of going to a baseball game with a friend in that this type of sports experience is amplified by the shared stories that are told by your friends. This is similar to collaborative storytelling of group explorations of VRChat, but with an environment that is a lot more opinionated in how it tells a story.

Life of Us is a compelling way to connect and get to know someone. The structure of the story is open enough to allow each individual to explore and express themselves, but it also gives a more satisfying narrative arc than a completely open world that can have a fractured story. Life of Us has a deeper message about our relationship to each other and the environment that it’s asking us to contemplate. Overall, Koblin says that our relationships with each other essentially amount to the sum total of our shared experiences, and so Within sees an opportunity to create the types of social & narrative-driven, embodied stories that we can go through to connect and express our humanity to each other.

Here’s a trailer for Life of Us:

The Life of Us experience should be released sometime in 2017, and you can find more information about Within website (which links to all of their platform-specific apps), or their newly launched WebVR portal at VR.With.in.


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Emotional Branching VR Stories: Combining Empathy & Interactivity for Compassion Acts

eric-darnellLast year, Baobab Studios’ Eric Darnell was skeptical about adding interactivity to virtual reality stories because he felt like there was a tradeoff between empathy and interactivity. But after watching people experience their first VR short Invasion!, he saw that people were much more engaged with the story and wanted to get more involved. He came to that realization that it is possible to combine empathy and interactivity in the form of compassion acts, and so he started to construct Baobab’s next VR experience Asteroids! around the idea of allowing the user to participate in an act of compassion. I had a chance to catch up with Darnell at Sundance where we talked about his latest thoughts about storytelling in VR, and explored his insights from their first explorations of what he calls “emotional branching.”

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Darnell says that one of the key ingredients of a story is “character being revealed by the choices that they make under pressure.” Rather than make you the central protagonist as a video game might, in Asteroids! you’re more of a sidekick who can choose whether or not to help out the main characters. This allows an authored story to be told though the main characters that are ultimately independent of your actions, but your “local agency” choices still flavor your experience in the sense that there are different “emotional branches” of the story for how the main protagonists react to you based upon your decisions.

Unpacking the nuances of these emotional branches showed me that Asteroids! was doing some of the most interesting explorations of interactive narrative at Sundance this year, and I would’ve completely missed them had I not had this conversation with him. We explore some of the more subtle nuances of the story, and so I’d recommend holding off on this interview if you don’t want to get too many spoilers (it should be released sometime in the first half of 2017). But Darnell is a master storyteller, and he’s got a lot of really fascinating thoughts about how stories might work in VR that are worth sharing out to the storytellers in the wider VR community.

They’re also doing some interesting experiments of adding in body language mirroring behaviors into the other sidekick characters that are based upon social science research in order to create subtle cues of connecting to the characters and story. There is another dog-like robot the experience that is in the same sidekick class as you where you can play fetch with it and interact with in subtle ways.

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Storytelling is a time-based art form that has a physical impact of releasing chemicals in our bodies including cortisol at moments of dramatic tension, oxytocin with character interactions, and dopamine at the resolution of that dramatic tension. Given these chemical reactions, Darnell believes that the classic three-act structure of a story is something that is encoded within our DNA. Storytelling is something that has helped humans evolve, and it’s part of what makes us human. He cites Kenneth Burke saying that “stories are equipment for living.” Stories help us learn about the world by watching other people making choices under pressure.

There’s still a long ways to go before we achieve the Holy Grail of completely plausible interactive stories that provide full global agency while preserving the integrity of a good dramatic arc. It’s likely that artificial intelligence will eventually have a much larger role in accomplishing this, but Asteroids! is making some small and important steps with Darnell’s sidekick insights and “emotional branching” concept. It was one of the more significant interactive narrative experiments at Sundance this year, and showed that it’s possible to combine empathy and interactivity to make a compassionate story.


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Mindshow VR’s Collaborative Storytelling Platform & Celebrating VoVR’s 500th Episode

Gil-BaronThere are a number of immersive storytelling innovations Sundance 2017 in a number of experiences including Dear Angelica, Zero Day VR, Miyubi, and Life of Us, but Mindshow VR’s collaborative storytelling platform was the most significant long-term contribution to the future of storytelling in VR. I first saw Mindshow at it’s public launch at VRLA, and it’s still a really compelling experience to record myself playing multiple characters within a virtual space. It starts to leverage some of virtual reality’s unique affordances when it comes to adding a more spatial and embodied dimension to collaboratively telling stories.

Super Serious Show PolaroidsI had a chance to catch up with Visionary VR’s CEO Gil Baron and Chief Creative Officer Jonnie Ross where we talk about how Mindshow is unlocking collaborative creative expression that allows you to explore a shared imagination space within their platform. We talk about character embodiment, and the magic of watching recordings of yourself within VR, how they’re working towards enabling more multiplayer and real-time improv interactions, and they announced at Sundance that they’re launching Mindshow as a closed alpha.

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This is also episode #500 of the Voices of VR podcast, and Jonnie and Gil turn the tables on me for what I think the ultimate potential of VR is. My full answer to this question that I’ve asked over 500 people will be fully covered in my forthcoming book The Ultimate Potential of VR. But briefly, I think that VR has the power to connect us more to ourselves, to other people, and to the larger cosmos. Mindshow VR is starting to live into that potential today of providing a way to expressing your inner life through the embodiment of virtual characters that you can then witness, reflect upon, and share with others, and Google Earth VR shows power of using VR to connect more to the earth as well as the wider cosmos.

If you’d like to help celebrate The Voices of VR podcast’s 500th episode, then I’d invite you to leave a review on iTunes to help spread the word, and become a donor to my Voices of VR Patreon to help support this type of independent journalism. Thanks for listening!


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Chocolate Brings You ‘Ridiculous Joy’ Through Music, Dance, and Cats

Chocolate Brings You ‘Ridiculous Joy’ Through Music, Dance, and Cats

Tyler Hurd is quickly becoming known as the “weird VR guy.”

The young virtual reality filmmaker first broke onto the scene with Butts — which is a hilarious and whimsical musical romp about exactly what you think it is. His followup to that was Old Friend — another musical that combined hilariously animated characters, over the top colors (heck, over the top everything), and music that won’t leave your head no matter how hard you try.

Hurd is currently attending this year’s Sundance Film Festival where he is debuting his latest piece called Chocolate. It’s a gritty, in-depth look at what happens when money, status, and pride become more important than the people we hold dear. Nah, just kidding, it’s about shooting cats out of your hands.

Describing Chocolate to people that have not seen it may get you a one way ticket to a nice, quiet, rubber padded room. You take the role of a slightly robotic ancient deity surrounded by your tribal worshipers. The music begins and they dance. They dance to earn your favor so that you might bestow upon them that which they crave the most: cats, lots and lots and lots of cats.

Once the tribal dancing has adequately pleased you, your hands will become Mega Man-esque cannons that begin to fire scores of cuddly, adorable cats into the air. This happens automatically on the beat but the position of the cats launch is determined by where you’re pointing the Oculus Touch or Vive controllers at that moment. There are a few other surprises in store for you inside the world of Chocolate but we’ll let you discover those yourself.

The entire thing is exactly as insane as it sounds but that’s what makes Hurd’s work amazing. In an interview with UploadVR, Hurd explained the he originally conceived of this ideas while listening to the song Chocolate by EDM artist Giraffage. The synth in the song made him think of cats and the strong beats led him to a tribal setting.

Hurd was then asked what it is he thinks ties all of these seemingly random works of VR art together. “I love when I show people something I’ve made and they just have to laugh,” explained Hurd. “People come up to me and say this makes me so happy, this is a happy maker and that’s just perfect…I’m trying to get people to that place of joy, that ridiculous joy…my focus is on characters and animation so I try to use that to just make people giggle like a child. If I’ve done that then I’ve won. If they’re smiling, they’re happy.” 

Though previously a solo act, Hurd was able to make this latest piece thanks to a investment from Viacom Next. With that additional capital he was able to bring in some fresh talent including an artist from Adventure Time to design some of the characters, a character modeler from Double Fine Studios, and a visual effects designer from Blizzard. Hurd’s previous works have taken him up to nine months to complete. Chocolate was finished in only six.

 

Hurd says that he is planning to release Chocolate to the public in “the next few months” and that the responses he’s been getting at Sundance to the undeniably unique creation have been “overwhelmingly positive”.

Hurd says he will continue to work as a VR artist and wants to keep making pieces that give people that “ridiculous joy”.

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HTC Vive Bringing ‘A Few Surprises’ And More To Sundance Film Festival

HTC Vive Bringing ‘A Few Surprises’ And More To Sundance Film Festival

The annual Sundance Film Festival has traditionally served as Oculus’ stomping grounds for showing off VR movie content. This year, however, it’s not alone.

HTC is bringing a line-up of apps to the event as part of the VR on the Mountain exhibit running from Janauary 20th – 22nd, which is separate to the New Frontiers division of the festival that has its own range of VR content.

The star of the show will likely be the suitably-titled Mindshow, a cartoon-ish character animation and storytelling tool from LA-based company Visionary that made the rounds at CES 2017 earlier in the month too. In it you’re able to set up scenes, take on the role of characters and then act out sequences as if you were really in the movie. It will make for a compelling showcase at a festival about films, as it will give attendees a chance to make their own narratives on the spot.

Also premiering at VR on the Mountain is My Brother’s Keeper, a companion piece to the upcoming Mercy Street Civil War series on PBS. It’s a VR reenactment of the historic Battle of Antietam that uses a new action camera rig built by filmmakers PBS Digital, StoryTech Immersive, Perception Squared and the Technicolor Experience Center. Remembering Pearl Harbor, a VR piece that released on Viveport last month, will be on display too.

Meanwhile, we’ve all been looking forward to Baobab Studio’s follow-up to Invasion! with Asteroids!. We already knew the next episode in the charming animated series would be debuting at Sundance, and it will be shown at VR on the Mountain from January 21st. There will be some interactive content too, including The Price of Freedom from Construct Studios and the ever-popular Tiltbrush. Google Spotlight Studios’ Pearl will be on display as will “a few surprises”.

Keep an eye out for additional Vive exhibits during the show. The last two Sundance Festivals have seen us get updates from Oculus Story Studio, so we’re hoping to see more from the company there too.

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