Publisher Vertigo Games and Mixed Realms, developer behind Sairento VR (2018), revealed a new trailer for their upcoming combat VR game Hellsweeper VR that shows off more of the game’s co-op action, which thankfully is confirmed to include cross-play on Quest, SteamVR, and PSVR 2.
HellsweeperVR is a follow-up to Sairento VR, this time letting two players join forces to descend into hell and slay twisted souls. The studios say we can expect shared combos and opportunities to execute unique co-op strategies as you take on all the evil the universe has to offer.
The studios say the game’s co-op mode offers a “full roguelike experience with a blend of strategic gameplay and RNG (randomized elements). Each player receives unique blessings, boons, and weapons, ensuring every playthrough offers different challenges and opportunities.”
In rogue-like mode, players fight rounds with various objectives, ending with a final boss fight. You’ll nab loot, upgrade your character, weapons or Hellhound.
Hellsweeper VR is coming to Quest, PSVR 2, and SteamVR headsets on September 21st, 2023. You can pre-order now on Steam, and wishlist on PSVR 2 and Quest. This also includes full cross-play support, so you can play with anyone regardless of their chosen headset.
When the original The 7th Guest launched on CD-ROM in 1993, it was apparently a pretty big deal. The amount of pre-rendered 3D graphics spliced with live action video clips made it a standout title among all PC games at the time, making it and Myst basically the hottest PC games ever. Now, Vertigo Games is rebooting the interactive horror puzzler in VR alongside a fresh injection of volumetric video which was undoubtedly a highlight in our hands-on.
The 7th Guest is coming in October to all major VR headsets, however we got a chance to go hands-on with a demo specifically for Quest 2 via a Steam build. Having never played the original ’90s game, I don’t have a basis of comparison, although what I did see was pretty indicative that Vertigo Games has done a ton to make this a visually appealing and modern game through and through.
Here’s the setup. Six guests have been welcomed to a foreboding mansion. There’s something sinister at play, as a wealthy recluse and toymaker, Henry Stauf, hides in the shadows. The ultimate question: Who is the 7th Guest? You’ll have to battle increasingly difficult puzzles and keep clear of whatever bumps in the night to solve the mystery.
Here’s the announcement trailer in case you missed it.
In the 25-minute demo, I got a sense of the scale and refinement of the game, although I still have some questions about puzzle difficulty. Don’t worry, I won’t talk about specific solutions here, just general impressions.
Starting outside, I find myself paddling on a canoe to a boathouse where I’m immediately confronted with my first tutorial-level puzzle. My newfound ‘Spirit Lantern’ doesn’t just let me shine light, but also acts as a magical tool to fix the broken planks blocking my way up to the main house. Later, I spawn the Spirit Lantern to materialize hidden objects or repair them, which comes part and parcel with a ‘Spirit Board’, which lets me see a map of the mansion, get hints and solutions, and check out my general progression. These two feel like the main tools I’ll be leaning on throughout the game.
Spirit Lantern revealing creepy scrawling on the wall | Image courtesy Vertigo Games
Sparing you some of the minor tutorial puzzles to actually get into the mansion (I made heavy use of the Spirit Lantern), I toss open the gate and walk up into the foyer, play a record on the Gramophone, and receive my first set of ghostly memories.
In general, volumetric video can be hit or miss depending on how it’s woven into a game. Here, it seems like Vertigo Games really hit a homerun, as each little character vignette feels like a visual extension of the haunted mansion, replete with ghostly mist and echo-y voice overs.
The acting is admittedly a little pulpy, but I’d consider the ghostly vignettes the right kind of cheesy considering the ’90s indie lineage the game. It’s supposed to be fun, dare I say, Disney-esque, so it feels right on brand with something you might experience in a haunted mansion theme park ride. I don’t expect any real frights here either—I certainly didn’t have any outside of the atmospheric creepiness of the mansion itself, that is.
Image captured by Road to VR
Again, I’m not going into puzzle solutions, but the early puzzles I did encounter were interesting, although not particularly difficult. A trio of magic hats create portals to one another, allowing you to put your hand into one, and solve a closed puzzle from afar. Unlock a series of boxes, and you’re led to the next vignette of a magician who met an untimely fate.
Whatever the case, I hope the mechanics I’m learning in the early game will be compounded into more difficult stuff later. It’s still too early to tell if the puzzles are one-off things, which would be more like a smorgasbord approach (which is fine) than requiring the player to create specific skills and use them at opportune moments.
Image courtesy Vertigo Games
I came away mostly intrigued by The 7th Guest in my short time going hands-on with the demo, although there’s clearly one thing that I can say I don’t like about it out of the gate. Voiceovers during puzzles that are designed to be constantly ‘helpful’ typically overstay their welcome, and I was hoping whoever the hell was talking while figuring out puzzles would eventually stop. These can be turned off in the settings, although they are on by default. Hopefully in the full game this will be offered as a starting option so players don’t feel like they’re being unnecessarily held by the hand from the get-go.
As for comfort, the gamut of standard options is available: teleportation, free movement, and a mix of both, which is the default movement style. The game can be played standing or sitting, and with support for left or right dominant hands.
Whatever the case, Vertigo Games is one of those VR pioneers that has more experience both in and outside the genre than most, and it seems they’re hitting all of the quality bars you’d expect from a VR remake of such a beloved ’90s game. Maybe I’ll play the original while I wait to play the full game, which is slated to launch October 19th this year.
Vertigo Games, the VR pioneers behind the Arizona Sunshine franchise and After the Fall, announced that the VR remake of The 7th Guest finally has a release date.
Update (August 23rd, 2023): Vertigo Games revealed The 7th Guest is set to arrive on Steam, Quest, and PSVR 2 on October 19th, 2023. You can wishlist it on each platform following the relevant links.
Additionally, the studio threw out a new trailer, which we linked below this update. The original article announcing The 7th Guest follows below:
Original (June 16th, 2023): Called The 7th Guest, the single player VR adventure is actually based on the classic ’90s CD-ROM title that tosses you into a haunted mansion for puzzles and full-motion video (FMV) characters spirits who bring the early adventure game to life.
Instead of flat video though, the new 7th Guest is being built with volumetric video capture alongside a complete overhaul of everything, top to bottom. Here’s how the studio describes it:
The team is using volumetric video capture to recreate the FMV (full-motion video) storytelling of the original game, bringing the classic adventure to life like never before. And for the first time ever, the iconic mansion is being recreated in full 3D—though don’t be surprised if it starts shifting around you. After all, it’s haunted. Spooky but never gory, The 7th Guest is like a thrilling amusement park ride you can experience at home, packed with puzzles that pay homage to the original point-and-click adventure while taking full advantage of VR.
The 7th Guest is being developed by Vertigo Studios Rotterdam, a division of Vertigo Games based in Rotterdam, Netherlands.
There’s no exact release date yet, however the studio says it’s coming to Quest 2 and Quest Pro sometime this year.
During PlayStation’s gaming showcase today, Vertigo Games unveiled the sequel to its classic zombie-shooting adventure, Arizona Sunshine (2016).
Dubbed Arizona Sunshine 2, the game appears to have taken a page out of Fallout 4’s book by including a four-legged pal named Buddy who seems to be eager as ever to help out in the wasteland.
Notably, the game’s reveal trailer is labeled as a ‘CG trailer’, so it’s unclear how much of the slapstick zombie abuse will translate into gameplay.
Here’s how Vertigo Games describes the sequel:
Welcome back to sun-kissed, zombified Arizona. Narrated by the unmistakable quips of our dark-humored protagonist, Arizona Sunshine 2 sets you on an all-new limb-strewn adventure in search of answers. In a post-apocalyptic world where every bullet counts, experience the thrill of realistic combat as you wield all-new and fan-favorite weapons–from shotguns to machetes and flamethrowers.
And what’s better than braving the end of the f*cking world? Surviving it with your new best friend–Buddy. Not only is Buddy your four-legged companion through thick and thin, he’s also the goodest boy and will help take down those pesky Freds for you. In a desolate world, suddenly you’re not so alone anymore. It’s funny how things go.
The studio confirmed Arizona Sunshine 2 is slated to arrive on PSVR 2 and SteamVR headsets at some point later this year. You can now wishlist it on PlayStation and Steam.
It’s not clear when the sequel will arrive, or whether it will also target Quest like the original. For now, the studio has only confirmed those platforms and that rough launch window.
We’re back for another dose of mind-bending puzzles à la Bob the Fisherman. The sequel offers up a longer, more emotionally complex story while packing in a ton of new puzzle mechanics that makes Another Fisherman’s Tale feel leagues ahead of the original in almost every sense.
Another Fisherman’s Tale Details:
Available On:SteamVR, Quest 2, PSVR 2 Release Date: May 11th, 2023 Price: $30 Developer: Innerspace VR Publisher: Vertigo Games Reviewed On: Quest 2
Gameplay
Bob’s tall tales are taller than ever this time around, as the adventure swells to scale up to new emotional depths which reveal more about the real Bob and his family. I won’t spoil the story behind Another Fisherman’s Tale, because it’s really something you should unfold yourself. It talks about love, loss, responsibility, freedom—it’s way heavier than the first, and often strays outside of original’s safe storybook narration. Where you might have ignored some of the angsty Dad drama of the original Fisherman’s Tale, and just got on with the game’s smorgasbord of mind-bending puzzles, this time around the narrative takes more of a center stage, all while presenting new and innovative mechanics to keep you guessing.
The most prominent mechanic on display is the new ability to detach, replace and control your hands—like physically pop off your hands, trade them for more useful ones, and shoot them out to solve a variety of puzzles that only a little crawling (or swimming) remote controlled hand-beast might. Although you really only have two other hand styles regularly at your disposal besides your wooden digits, a hook for climbing and a claw for snipping, the puzzle variations are impressively wide.
Image courtesy Innerspace VR, Vertigo Games
While there are a ton of one-off puzzles to compliment, a constant throughout the game is the need remotely control your hands, which is done by twisting your motion controller in the correct relative direction and pressing the trigger to move them forward. You’ll be pulling levers, crawling your digits through circuitous routes, and grabbing key items before snapping them back to your arms where they belong. This took some getting used to, as oftentimes you’ll need to control your hands from afar while actually moving your body to different locations to get a better viewpoint, which can be confusing at times since your body’s relative position changes and your hands sort of wig out.
And with separable hands, you might as well be able to pop your head off too. Simply press two buttons (‘B’ and ‘Y’ on Quest) and you’ll launch your head forward to reach far flung areas for a better point of view. It’s basically plays out like a dash teleportation that follows a predictable arch as opposed to physically picking up your head ad tossing it around, which wouldn’t be terribly comfortable. More on comfort below though.
Image courtesy Innerspace VR, Vertigo Games
While I wouldn’t call any of the puzzles particularly hard, they’re always creative and rewarding. I had hints enabled, although you can turn them off in the settings, which mutes a few of Bob’s timely and helpful lines. Still, Bob isn’t overbearing in how or when he delivers hints, making him feel much more like a dad who wants you to figure something out on your own than a ‘helpful robot’ that just wants you to get on with the puzzle already.
My personal playtime was just under four hours, which puts it nearly four times longer than the original game. I didn’t feel like any of it was filler either, which is a testament to the game’s deeper story and puzzle variations that require the player to develop skills that are useful throughout—essentially everything I wanted from the original but didn’t get when it initially released in early 2019.
Immersion
The star of the show is undoubtedly Bob, who is brought to life by the whisky-soaked tones of the probably never-not-smoking French comedian Augustin Jacob. In my review of the first game, I called Jacob’s interpretation more akin to a kitschy short that you typically see before a proper Pixar movie—charming, but not enough.
Image courtesy Innerspace VR, Vertigo Games
Here we get a full-fat dose of Bob as well as a new cast of characters that are equally engaging, making it feel more like that Pixar adventure I wished it could have been in the first place. One thing that hasn’t changed though is the inclusion of a sweeping score, which perfectly frames the game’s linear, sometimes storybook style adventure.
While the story goes off the rails at points, snapping you back to reality, it isn’t a large, open world with a ton of freedom of movement, or even puzzle creativity. Another Fisherman’s Tale is compartmentalized into chapters, each of which have a number of linear areas to unlock. The physical variety of the spaces though makes it feel less like a long series of closed escape rooms, which might otherwise feel a little too repetitive. That’s simply not the case here, as you’re always left guessing at what your next adventure will be, and where you’ll go next.
Image courtesy Innerspace VR, Vertigo Games
Set pieces are thoughtfully designed, and the cartoony nature of the game looks generally very good, even on the game’s most humble target platform, Quest 2. Object interaction is very basic, although that doesn’t detract too much since it’s mostly levers and a smaller momentary puzzle bits we’re dealing with here. As a result, there’s no inventory to speak of since all tools will be presented to you as needed, and thoughtful poofed back into existence in case you lose them.
Comfort
Another Fisherman’s Tale has what we’d now consider the standard swath of comfort settings, which will let most anyone play with relative ease. There are moments though that personally make me feel a little iffy—not hang my head in the toilet bad, but I’ve played VR long enough to know my triggers.
In lieu of cutscenes, the game loves to do sweep your POV around slowly, which is mostly fine, although much of the time you’re being shrunk down so scenes can appear bigger. I generally dislike this lack of control, even if it only happens maybe once per chapter. There are also moments when your POV will be upside-down, however this too is a pretty rare occurrence. All things considered, it’s a pretty comfortable game that basically anyone can play without feeling anything but few momentary bits of weirdness.
‘Another Fisherman’s Tale’ Comfort Settings – May 11th, 2023
Turning
Artificial turning
Snap-turn
Quick-turn
Smooth-turn
Movement
Artificial movement
Teleport-move
Dash-move
Smooth-move
Blinders
Head-based
Controller-based
Swappable movement hand
Posture
Standing mode
Seated mode
Artificial crouch
Real crouch
Accessibility
Subtitles
Languages
English, Italian, German, French, Spanish, Japanese, Korean, Traditional Chinese, Simplified Chinese
InnerspaceVR is bringing its sequel to the VR puzzle adventure A Fisherman’s Tale soon, aptly named Another Fisherman’s Tale. And now both InnerspaceVR and publisher Vertigo Games have released a new gameplay video showing off just what awaits. Detachable body parts, galore.
Revealed today at the Future Games Show (FGS) Spring Showcase, the new trailer shows off some of the upcoming VR puzzle game’s mind-bending universe, which this time is said to use the player’s own body as core puzzle mechanic, tasking you with detaching and replacing key body parts to solve puzzles.
Check out the trailer below:
InnerspaceVR says the sequel brings a new chapter to the story of Bob the Fisherman, “weaving a magical and moving narrative about the meaning we create through building and rebuilding our authentic selves.”
In it, the studio says players will do things like throw Bob’s hand across a ravine and then make it crawl to retrieve an object, or send your head elsewhere for a different point of view.
Limbs are also modular, as you replace them with a variety of objects to unlock new skills, such as a pirate hook hand to let you scale walls, a crab’s claw to cut through a rope, and a fish’s tail to improve your swimming ability. Puppeteering hands will also let you pick up distant objects, items and tools.
InnerspaceVR says Another Fisherman’s Tale will be a five to six hour adventure, putting you in the shoes of Nina, the daughter of the series protagonist. Here’s how InnerspaceVR describes it:
“Recollecting Bob’s grandiose stories of pirates, sunken ships, treasures and mystical locations, Nina begins re-enacting his adventures and dives head-first into an imaginative world of memory and fantasy. Will she be able to separate fact from fiction and uncover the hidden truth behind the fisherman’s tale?”
And yes, it appears French comedian Augustin Jacob is reprising his role as the game’s smokey, baritone narrator.
Another Fisherman’s Tale is slated to launch in Q2 of this year, coming to PSVR 2, Meta Quest 2, and PC VR.
A Fisherman’s Tale (2019), the VR adventure from Innerspace and Vertigo Games, is getting a sequel, launching on all major VR platforms this year.
Aptly called Another Fisherman’s Tale, the episodic tale is bringing you back for another round of mindbending VR puzzles which the team says lets you use your own body, detach and control your limbs, and find new attachments to progress.
“Discover the truth as you journey through beautiful and unique locations, brought to life by the makers of A Fisherman’s Tale. Get ready for a captivating VR experience unlike any other,” the description reads in the game’s announcement trailer.
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Image courtesy Innerspace VR, Vertigo Games
Image courtesy Innerspace VR, Vertigo Games
Image courtesy Innerspace VR, Vertigo Games
Image courtesy Innerspace VR, Vertigo Games
Image courtesy Innerspace VR, Vertigo Games
A Fisherman’s Tale puts you in the boots of Bob, a fisherman who lives in a strange, recursive world centered around a dollhouse-sized lighthouse. In the sequel, you return to the story as Bob’s daughter Nina for another round of mind-bending escape room-style puzzles.
We liked the smorgasbord of VR game mechanics in the original, although a big sticking point was its overall playtime, which we clocked in at just around one hour in our review of A Fisherman’s Tale. The sequel is slated to take around five to six hours—promising to offer up plenty of adventure to keep you scratching your head.
Creative Director Balthazar Auxietre of Innerspace VR stated that the goal was “to renew the gameplay and the storytelling [of the first game] while keeping key elements of a universe that has obviously reached the heart of VR gamers.”
He added that the studio’s recent experiences allowed them to “pursue a new level of ambition for the A Fisherman’s Tale franchise, thanks to the multifaceted gameplay and the diversity of the models’ worlds. Everything is in place for a new adventure that will take us across the virtual oceans.”
At the time of this writing, the 2019 A Fisherman’s Tale garnered a user rating of a 93% ‘Very Positive’ rating on Steam, and a [4.5/5] star user rating on Quest.
Another Fisherman’s Tale is slated to arrive sometime this year on PSVR 2, Quest 2, and PC VR headsets via Steam and Viveport.
When it comes to hand tracking games on Quest, nothing really comes close to Unplugged.
Developed by Anotherway and published by Vertigo Games in late 2021, Unplugged is an air guitar game, inspired by Guitar Hero and many others, that lets you shred in VR with a virtual guitar and your real hands.
As I’ve said elsewhere, Unplugged leverages Quest’s hand tracking technology to breathe life into the imaginary act of air guitar. In doing so, it takes hand tracking to a whole new conceptual and technological level, surpassing everything else available on Quest.
“From the very beginning, our obsession was to understand how the technology is limited and try to polish that stuff,” says studio director and Unplugged creator Ricardo Acosta. “That was the very first thing. Not the graphics, not even the gameplay.”
After speaking with Acosta in our virtual studio (full video interview embedded above), it’s clear that creating a polished and tangible experience was always the goal. “I think that hand tracking is here for good,” he tells me. “I wanted to create something that worked for real. It wasn’t just another demo.”
Such strong commitment to this new form of input is a big call, especially for Acosta, who spent years as a hand tracking skeptic while working on the HoloLens team at Microsoft. “When I was at Microsoft, I was like an advocate for controllers,” he says with a laugh. “At Microsoft, they are all about hand tracking, but I was like, ‘No guys, we need controllers. Controllers are great.’ And now I’m saying the exact opposite thing.”
“On the first version of the HoloLens … you have hand tracking, but just like the blob. It’s just the hand, not the fingers.” Without full and reliable finger tracking, Acosta came away disappointed and skeptical. “With the HoloLens 2, it was a bit better, but the lag between your movement and the hand was very big, for a lot of technical reasons.”
Even so, Unplugged was first conceptualized in 2015 — well before the advent of any modern VR’s hand tracking functionality. “I remember being in a concert in Prague and I was just like doing air guitar,” he recalls. “And at some point I was like, oh, this is an interaction that could work in VR.”
“As soon as I went back home, I prototyped something … and it totally worked. It was like, oh, this is good. This is something that we could actually turn into a game.” The original idea developed into something akin to Rock Band but for VR, using controllers and the first Vive headsets and Oculus SDKs. Acosta said he quit his job at Microsoft to work on the prototype, titled Rock the Stage, over the course of four months.
“I think that it was pretty good,” he says of the Rock the Stage prototype, of which videos still exist online. “The best thing it was that it made you feel like you were there.” But Acosta soon ran into a road bump — music games, and particularly the associated licensing, are complicated work. “You need a lot of money. You need a team of people handling all that music licensing. And I didn’t have all that back in the day. So I decided, at some point, to go back to my job.”
After continuing in Microsoft’s VR/AR division for another few years, Acosta revisited the concept in 2020 while bored at home during the pandemic. “Oculus [had] just released the hand tracking system [for Quest] and suddenly it came to me like, ‘Oh my god, I could actually rescue that…prototype and try [see] if it works using hand tracking.'”
Even in the early stages, hand tracking felt like a turning point for the previously controller-only experience. “It worked so well. . .Back in the day with the controllers was nice, but with hand tracking was exactly what it should be.” Acosta adapted his original prototype into something new, ditching controllers for something much more freeing and immersive. “When I put [hand tracking] on the prototype, it wasn’t perfect, but it was good enough for me to start polishing the experience. I knew that with a bit of work and a few algorithms on top of the hand tracking, I could make it work.”
Acosta created a video showcasing the new prototype game and posted it to social media. It soon exploded and attracted a lot of interest, especially from publishers offering funding. After discussions options with a few different publishers, Acosta signed with Vertigo Games. “They offered the best deal. And also they were bigger, and they really had a super nice vision about what the game should be.”
“At first I was a bit scared about it, because it was a super big project. We didn’t have a company together. It was complicated.” What started as a one-man show had to turn into a burgeoning team. Acosta’s wife joined as a project manager and they were then joined by a few others to make up the small studio now known as Anotherway.
“We are six people now, which is not a lot,” he says. “Very recently, we had the opportunity to grow a little bit, but we decided to stay small. I’ve been working in Microsoft for most of my career. That is a very big company and it’s amazing, but I really like working with just a very small amount of people. It’s a very creative environment.”
Working alongside Vertigo, Unplugged quickly developed into a project with bigger ambitions than Acosta had ever imagined. “I’m very conservative in terms of adding features, because I know that anything you add to a project, it will create a lot of problems, a lot of bugs, a lot of things.”
“They pushed for more staff. They wanted more music, they wanted more venues, they wanted more quality on the game and they’ve been always pushing for that. And I think that, in general, the game would have been way smaller without Vertigo,” he says.
In particular, working with Vertigo opened up opportunities when it came to the proposed tracklist. “In the very beginning we were just going for small bands. And then when we signed up with Vertigo they were like ‘No, like indie bands are cool and we will have a few. But we need famous bands.’ And we were like, oh, but that’s going to be super complicated.”
Vertigo sent Anotherway a Spotify playlist and asked them to add any songs they might want in the game. “And we were like ‘Wait, whatever music?'” It was a big mental shift.
The Offspring’s The Kids Aren’t Alright was the first major song that Vertigo and Anotherway secured the rights to. “We were just like jumping, like, ‘Oh my god, we made it.'” The final selection included some massive artists — The Clash, T. Rex, Weezer and Steel Panther, to name a few. “[Music licensing] is a very time-consuming process, and I knew that. So not even in my wildest dreams I would have dreamed about having Weezer or Tenacious D, The Offspring, or Ozzy…”
The inclusion of Tenacious D’s Roadie is particularly special to Acosta — not only is the band one of his favorites, but he had used the song all the way back in 2015 in the very first prototype. However, the song almost didn’t make it into the final game at all.
Vertigo and Anotherway initially struggled to make contact with Tenacious D to secure the rights. However, Vertigo had a trick up its sleeve — Guitar Hero legend Mark Henderson had been brought on board to assist with the game. “He was like, ‘Guys, leave it up to me. I’ll make it happen.’ So somehow he contacted the manager of Tenacious D and started talking to them.”
With Henderson’s help the rights to the song were secured. But another problem emerged — with a PEGI 12 rating, Roadie’s explicit and frequent F-bombs weren’t going to cut it. “So at another point we were like, ‘Okay, we have the song now, but we cannot use it because we are PEGI 12, so we have to take it out from the list.'”
Acosta made his peace with leaving the song off the tracklist but, in his words, “maybe the stars were in a particular position that night.” Henderson was able to get Tenacious D back into the studio to re-record a clean version of Roadie, specifically for Unplugged, excluding all the swearing.
“It was insane,” says Acosta. “Knowing that my favorite band re-recorded a song just for the game. It’s insane. It’s just amazing. And a lot of people have complained about the fact that it’s a different version of the song, without the swearing. But I’m so proud of that. To me, it’s even better because it’s our song.”
With a solid tracklist secured, Acosta and the team at Anotherway set to work on creating an unforgettable and reliable hand tracking experience. “I am a UX designer, so for me, the main important thing on anything is user experience. If the experience is not good, the whole game won’t work, or the whole experience will be shit, and we didn’t want that.”
As a result, the gameplay itself was adapted and designed to work with, not against, hand tracking. Even tiny changes mad a big difference — the size of the guitar in Unplugged, for example, is a bit smaller than a regular, real-life guitar, which helps keep your hands in view of the cameras.
“In the beginning, with hand tracking 1.0, we had to be very aware of your movements,” he explains. “We had to create the mapping so that the music charts in a way that is always aware of the limitations of the technology.”
That meant that at launch, the mapping in Unplugged didn’t always completely follow the music, leading some players to complain that the music and the notes didn’t always line up. “And we knew why, but we couldn’t do anything about it, because the hand tracking was very limited and you couldn’t move your hand that quickly,” he said.
Nonetheless, Acosta remains proud of the experience offered at launch. “In the first version, it was absolutely playable. Obviously it wasn’t perfect, but it was playable. And I think that we proved that you can actually create a hand tracking game that uses hand tracking very intensively.”
Skip forward a few months after launch and the release of Meta’s Hand Tracking 2.0 software offered huge gains for Unplugged. Not only was the technology more reliable than ever, but it was so good that Anotherway went back and re-mapped the entire tracklist for increased accuracy and challenge. “We want the game to be fully accessible for everyone, obviously. But I think that for 98% of people, the game works very well.”
Nonetheless, Anotherway are still implementing algorithms and workarounds to account for error and improve the experience — the latest being an AI system. “We’re using deep learning in order to see where your hands should be or what’s your pose or what’s your intentions. We made all that stuff so [that] when there is a problem with the hand tracking, there is another layer trying to help and trying to make the experience as smooth as possible.”
There’s more to come too. In the short term, Anotherway just released a new DLC pack — featuring songs by metal band Pantera — and are working on an upcoming accessibility update adding new features and “another thing” that is top secret but will be “really big.”
In terms of song selection, there’s definitely more on the way. “We are working to add more music all the time. We want to add free music [as well], not just DLC. Also, I want to add more indie music because I think that there is a lot of really good indie music out there.”
But what about the long term? What does the next year or more look like for Unplugged? “I cannot talk too much about it because Vertigo will kill me,” Acosta says with a laugh. “But our plans are very big. Unplugged is going to become bigger, at least in terms of features…”
“I would be very excited about Unplugged if I knew what’s going to happen. Probably like in a year, Unplugged will be very different. It will have way more stuff. That’s it. That’s all I can say.”
For a game that has already pioneered a new technology on a cutting edge piece of hardware, there could be a lot of interesting developments in Anotherway’s future.
“Unplugged is going to move forward,” Acosta said. “That is for sure. We are not staying still.”
Mixed Realms, developers behind the samurai-style action-adventure game Sairento VR (2018), announced that its follow-up, Hellsweeper VR, is set to release on major VR headsets in September.
Update (June 8th, 2023): Hellsweeper VR is coming to Quest, PSVR 2, and SteamVR headsets on September 21st, 2023. You can pre-order now on Steam, and wishlist on PSVR 2 and Quest.
The studio also released a new trailer showing off some of the high-intensity gameplay, embedded below this update.
Original Article (June 9th, 2022): The game, which is currently planned for Early Access release on Steam sometime later this year, is also coming to Quest 2, slated to arrive on the standalone “soon,” the studio says.
Published by Vertigo Games, Hellsweeper VR is a roguelike first person combat game where you take on the role of an undead immortal.
“Traverse the underworld where every step brings a challenge or a chance. Gain mastery of your weapons and elemental magic, or fall to the unrelenting onslaught of dark creatures,” Mixed Realms says.
In it, you’re tasked with gaining mastery of a wide range of weapons and elemental magic. As you’d imagine, upgrading your gear as you take on undead immortals along the way is supposedly a big part.
Here’s what the studio says about Hellsweeper VR:
“Hellsweeper VR came about from our desire to improve on what made our first game, Sairento VR, a huge hit with fans,” Mixed Realms says. “We wanted to build upon a core tenet of Sairento – an intense no holds barred locomotion system that offered wall-running, power-sliding, backflips and more – all while improving its arcade-style action with semi realistic physics, allowing you to pull off even crazier moves. Juggle enemies in the air. Lop off a limb and use it as a club. Land on an enemy and use them as a bloody surfboard – yes, you read that right.”
