Chronos Review – Prepare To Age Oculus CV1

Chronos is a Third-Person RPG for the Oculus Rift available from the Oculus Store which was developed by Gunfire Games and is an exclusive title for VR and Oculus.

At the start of Chronos you are given the option to choose whether you wish to be a male or female protagonist. Then you have the decision to make: to carry an axe or a trusty sword from the start. Whatever your decision is it won’t have much impact on your playthrough. After this you are then taken to the village elder. Here, through shadow theatre you are told the story of the game and of how you have been chosen to take on this great evil and save your homeworld from the Dragon.

Chronos is like the younger brother of a Dark Soul’s game. It’s not as big or as hard as its older brother but it still packs a punch and won’t go down without a fight. And fight you will. The combat in the game is not anything new or exciting. You attack, block, parry or dodge and that’s pretty much it. But as simple as the controls are there is much more to it than that. Every enemy is a threat to you and if you don’t take them seriously they will punish you even if you have beaten them 5-10-20 times before.  There is an art to each character type, a certain pattern that you will have to find to dispatch them. Of course this will depend on your style of play and the weapon you use.

The world in which the game starts is a post-apocalyptic one, although you don’t spend a lot of time. here, because to kill the dragon you must enter the labyrinth.  This is set in a high fantasy world and not just full of monsters but also puzzles to slow your progress through the labyrinth. The puzzles are generally light and don’t take lots of time to figure out but trekking back and forth to find a missing piece is the real challenge. There is no hand holding with Chronos so when you do move around you don’t have a map so you can sometimes get lost or take a wrong turn. However, as you’re in a labyrinth you really shouldn’t find it a doddle to get around anyway.  The further you get through the labyrinth the more doors you can open that connect back to previous parts of the chapter. This will allow you to skip parts of the labyrinth that you have previously explored and avoid the enemies that occupy the halls if you die. Save Points are giant gemstones that you use to teleport from the outside world into the labyrinth and also to move throughout it. Unfortunately, they are sparsely scattered around the maze and you will have to battle hard from one gemstone to the next.

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Chronos is an RPG but for anyone looking for the level of character detail and tuning that you would get from RPG’s like Skyrim will not find it here. You have four attributes to work with; Strength, Arcane, Agility and Vitality, and you earn points to upgrade these through combat experience only. Your character will always be of warrior class so even if you focus more on the Arcane you will still be a warrior.  Your weapons come from exploring as there are no shops or mysterious strangers that will sell you a new axe for gold coins. All weapons can have their damage power upgraded by collecting dragon shards. There is a nice variety in the weapons you come across- Sword, Axes, Maces and my particular weapon of choice, a Spear, – although it is possible to keep the first weapon you choose and complete the game with it. There aren’t any side missions either that you can spend time doing to build up your character’s experience.

What Chronos does offer in an RPG way that I have never experienced before is that your character ages. When you die you get thrown out of the labyrinth back to your home world and as the labyrinth only opens once a year you must wait till then, licking your wounds and getting older before you can return. Obviously, this doesn’t happen in real time, in the game and you are just transported back to the nearest save stone that you last encountered. When you first enter the labyrinth you are a sprightly 18-year-old, nimble and quick. As you grow older though your strength will start to wane however you become wiser and more in tune to the arcane arts. This unique approach adds more to Chronos then you’d expect. You will die a lot in Dark Souls or Bloodborne and it’s frustrating, but with Chronos there seems to be a real price for being defeated over and over. This added a sense of dread that hung over me throughout my playthrough as if death itself was standing over me watching and waiting for me. The character appearance changes as the years pass and I felt it with the Hero as if the burden of their many years weighed also on my shoulders.  Then as every decade of your life passes you get the option to choose a new perk out of three available. Some consideration is needed with each one of these options as what might work for you now might not be the best option later in life.

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As for VR, Gunfire has built an exceptionally beautiful world within Chronos and with the detail you feel as if they had crafted every stone from hand. I can see why a developer would perhaps prefer a game this beautifully made in VR as the player can appreciate the design and detail up close compared to a more traditional screen. Aside from enjoying the view, there isn’t a lot VR offers here. Your POV is at a fixed position in every area you walk into as if you were a CCTV camera watching your Hero throughout their journey. For a game that relies on being able to dodge and parry a lot, I found a few times that I would end up getting stuck behind an enemy as they blocked the camera, which was especially frustrating when you died because of it. I was constantly either luring an enemy to an area where I had a better view or moving around the camera POV to take a better position to attack.

Chronos has a perfect mix of frustration and enjoyment built into the game. You will work hard to beat it but never spend too long repeating the same area over and over. It’s a great warmup for other harder games of this type. I would have enjoyed Chronos as much playing it on TV as in VR but for the platform it’s great to see a well-designed, polished game available. GunFire are definitely a developer to watch from here on in. Chronos is shallow on the RPG elements but will find its fans that don’t want the depth of character development and hours of side quests that other games in the genre have to offer. Its aging mechanic I hope becomes something other studios will make use of in games to come as every death matters more in this game than any other I have played. There is a bite to Chronos but I enjoyed sinking my teeth into it as much as it sunk them into me.

 

 

 

 

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Save 40% on the 2016 Augmented World Expo

1200_600_Opt2-640x320The Augmented World Expo is the premier annual event for all the latest developments in augmented reality, virtual reality, and wearable technology. Back for its seventh year, over 4,000 attendees from all over the world–including a mix of CEOs, CTOs, designers, developers, creative agencies, futurists, analysts, investors, and press–will have a fantastic opportunity to learn, inspire, partner, and experience first hand the most exciting industry of our times. AWE is held June 1-2 in Santa Clara, California.

As I have in years past, I’m offering a discount code for AWE attendees. Use the code ‘AWESpeakerCommunity’  to register for the expo. This code is good for 45% off any ticket type.

See you there!

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Technolust Review: TechnoLACKluster! Oculus Rift CV1

 

Technolust is a VR Narrative Experience from IRIS VR exclusively for the Oculus Rift. Following on from a popular Kickstarter campaign back in 2014 and being Greenlit for Steam, Technolust is available to download from Oculus Home and Steam now.

Technolust is set in a cyberpunk world where corporations now rule instead of governments. In this narrative, you are a silent hacker who is fighting back against the oppression that these big businesses have brought down on you and the people of the world, or at least this is what I could gather from the story. This world is dark, gritty and technology seems interconnected with everything around you. Hacking then becomes an essential part of the story and a way to stick it to the man and show you are a non-conformist.
The game starts when you are ‘jacked in’ to a cyber world which I would describe as MS-DOS meets Tron. Your character is just another nameless, faceless, voiceless, bodiless character. VR is supposed to be about immersion but it’s hard to get that when you feel that you are just playing as a floating camera. You float along until you find a file sent by one of your hacking friends which neither of you should have and after you receive it you pop back into the real world. From here your adventure really begins.

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You’re told the story through videos by the other game characters. These are then real actors playing the role, not just voice over or computer generated characters and the actors playing each role do perform exceptionally. There are other NPC’s scattered around the world, some of which are robots that seemed based on Star Wars C3PO. They are very helpful and polite but seem a little dim. I felt the NPC’s were just placed around to fill in the empty streets and try to bring life to the world. Plus, with every one of them being rooted to the one spot it doesn’t help to convince you that there is more going on in the city than just your story. The graphics work in the game for the most part. While you are in the darker areas such as inside buildings or in the city at night they are fine, however whenever you go out into brighter areas the lower quality really shows.

 

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Hacking is handled as a third person mini-game where you control an avatar that seems slightly constipated as it waddles around. However, that aside, I found these levels enjoyable as you go around shooting red enemies and collecting key cards to break through programs. Also, you come across Arcade machines and these also have their own individual games which include a 3D space invaders game and a cube version of Tetris where you stack blocks on all sides of a cube. I was impressed with how polished these games are and how well they controlled.
I’m all for games that don’t take you by the hand and guide you through the story. When you must overcome a challenge this is great. However, when you find yourself getting a little bored or detached from the story then this can become frustrating, not knowing what to do next or where to go. A few times I just really wanted to move on to the next section and didn’t want to wander around trying to figure out what to do next.

I could probably fill this review writing about the amount of Easter eggs that I came across and indeed the ones that I didn’t get. There were nods to movies like Total Recall, Robocop, The Matrix and the most obvious being Blade Runner. I always enjoy a nod to a movie or a reference here and there, but it felt at times that the story was suited more to the reference than for the sake of the plot. The end of the story left me confused more than anything and even after giving it a bit of thought I’m still foggy with what happened at the end. I felt no satisfaction or real conclusion to the story and for the most part I really didn’t care.

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I want to be immersed in a VR world where I can get caught up with everything around me. VR is somewhere I want to spend time but unfortunately I just wanted to get through Technolust. Even though after the credits rolled I feel I may have missed some things I won’t find myself longing for this world or have any reason to go back. I can get over a poor narrative in a shooter or action game when I have lots to do as it still fills my time with fun. On the other hand, when the game is solely based on narrative you want a story with emotion, to feel angry when you have been doubled crossed, or a terrible loss when a friend dies. Without all this the game becomes a bit of a walking simulator or in this case a floating simulator. I wouldn’t recommend anyone not to play Technolust. Maybe it’s right for you but for €19.99, I would want a bit more bang for my buck.

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FMX: Storytelling in VR and The Future of Mixed Reality

Story Telling in VR

I talked about FMX and the VR technology of today and the current limitations in the last posts. Now it’s time to take a look at what other industry pro’s have to say about the content and the future of it!

Typically at FMX the speakers reported on their first VR projects (“still learning”) or had more experience, but the overall mindset was: the initial hype phase will be over soon and what counts are compelling stories that draw us into the created worlds. After the initial “Wow!” or “F**k, I’m Iron Man!” we need to tell a story within the new medium. Learn it now or leave it!

We need to invest in narratively good content and not consider the monetary consequences (if we can for now). Everybody needs to rethink story telling (Don’t freak out, Mr. DOP or director!). The medium is way more direct and less restrictive (that’s the charm) and we must chose wisely when creating content: how can I transport my story best? Does it have to be interactive? What’s the advantage? Would I suffer from crappy renderings (2016) on mobile devices that are unexcusable for my story? Do I really need positional tracking for my story?

The stories we can tell will have these technical constraints, that we should not fear. Constraints are always there and let us be creative. There will never be enough RAM or GPU power! To quote Mark Watney: we just need to creatively science the shit out of the current decade’s technology!

So, collect the best programmers and CG artists from the 90s (only they are well aware of the constraints and will make you hit the 2×90 frames per second) and get going! People that use VR don’t want a copy of reality – but want to experience something new and impossible. Games like the funny job simulator are a great tech demo, but after the initial breaking of social rules (throw the knife through the kitchen) it might get a bit boring to find yourself in a room that could well be in your home… We want to get teleported into different worlds. But what questions do we need to answer to create great content?

What to think about

Let’s go over some technicalities. In any pre-created immersive media (a movie, a book) the passing of time and space can be done easily and must be done! We don’t want to know about the boring parts of a travel or story – we focus on the important and emotional elements. But how about in VR? The key fun factor is that we experience it in real-time and live. But then I am bound to the dimensions of my physical space and my sensation of time. We must find the least annoying and most intuitive ways (it just can’t be 100% intuitive) to deal with this. Movement through teleportation (as described Friday) could do the trick, condensing time will probably need work with fast transitions (wipes? fade-overs?) and tell the jump in the story line – best by some helping NPC.
Speaking about helpers – how can we draw the player’s attention to something? This was often discussed. In the end, typical strategies from 3D game design apply: use spatial sounds, spot lights, special guiding animations or character actions to lead the viewer. But avoid being the know-it-all parent explaining life to a kid. If you take away too much exploring it turns into a chore. If you leave the user completely alone he or she might lose interest. In general one can say that we (as unexperienced VR users in 2016) need more time to get into the VR world and to orient. Don’t include too much action and avoid too much ambient animations or actions on the side. Don’t reveal a whole world, but rather use revealing and occluding effects to draw attention towards new parts of the world and to get the viewer away from stuff that’s done already.
In real-time VR we do have the freedom to better guide the viewer, we could even freeze time until he or she looks the right way. We can use so many action triggers to tell a story. We must combine these coding possibilities with the mentioned visual cues to create great interactive VR experiences.

Another World

So we do want to jump into other worlds. Results show (also test results on myself with many hours in VR) that it is less important how your world looks graphically. As long as the world is consistent and the laws of the world stay understandable and predictable we are happy. I can fly? Fine! No questions asked! I cannot pick up objects? Fine! But if I can destroy a table – why can’t I destroy the chair? There the experience plays with our expectations and kills the immersion – or better: the believable world. Speaking about killing: will you have scruples to shoot at a VR buddy? At a dog? Questions on ethics were touched during FMX panels, although I would have loved to hear more about it. Do we just “need to” get through some emotional blunting like we did with first person shooters – or basically any game or media? Is the further improved realism a problem? Some developers I spoke to remembered their first FPS games and had problems stepping across the social order and break the law (“Can I really shoot at the scientist in Half-Life? No, they won’t let me. Will they? F*ck, I just killed a man!”). But then again we see all GTA and FPS players not wasting a thought on it.
Nevertheless this is a valid discussion for the future. I myself remember VR experiences in a different way than screen-based games. I do remember them as “it happened”. Kids until six years don’t have a filter to distinguish real from virtual! Will the next generation be emotionally attached to virtual characters? What if a virtual representation of a real friend gets so perfect that he is undistinguishable from a virtual NPC? Will we still differentiate emotionally? The line could get blurry here. Let’s be on the outlook for this!

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The Near Future of VR

Everybody is excited. But how to monetize VR people asked? No one really knows, but everybody agreed on that it’s better to focus on content first anyway: how can I get people to try my story? We do need great immersive experiences first. Though some studio CEOs said that they need to make money within the next three years to not drop it. Overall the number of VR hardware/platform companies will consolidate to 5-10 big players and the costs for VR productions will go down to 10% or 1% of today’s costs – thanks to better tools & pipelines. We just need to go through 1000 bad VR apps first to reach some initial good ones…

New fields that could arise are definitely live streamings (e.g. concerts) or in general virtual travels (from the comfort of your home). VR could reduce real world objects and possesions (less clutter in the environment). Telepresence will get big for sure. Depending on the circumstances we will quite often chose the virtual meeting. In the end we will only remember talking to our friends or collegues – not how we did that (on the phone? face to face? in virtual reality? I don’t totally recall.). Let’s find out!

The Future of AR in story-telling

But what about AR here for story-telling? I raised the question multiple times, but – boilt down – the answer is: everybody would love to try it out and play with it, but nobody knows. Some don’t really see it as a market. I’d say fully convinced: storytelling needs to be completely re-invented for AR after the re-invention for VR! VR story telling is too easy – in comparison. You teleport to another world and once you’ve understood the technology: go for it and create a story for your living room (instead of using the TV)! But with AR you are always inside the real environment and must integrate the alternate reality convincingly into the player’s space. Besides technical problems (tracking, visual overlay, interaction) we must find out what kind of stories would make sense at all. Do we go for augmented pets first (like in good old Denno Coil)? The great thing about AR could be that in contrast to VR – where a comparably small number of users will use the system – AR will scale up big. Everbody will have an AR device on the nose. Initially for peasant tasks (“where’s the next store, what’s on my calendar”) and business. But once rolled out, we could (and should!) go big with it and deploy great everyday, entertaining AR experiences! Exciting times will come! I’d say: the real discruptive social break-through is not happening at all with VR now but will come with AR within the next 5 years! The revolution takes a bit longer. Now for the detour through VR – on the road to augment our real world!

Regular’s Table Today!

… and to make the day perfect let’s meet up tonight for the next #ARMUC regular’s table in Munich and discuss this! Feel free to join on time. It might get crowded (and they will show the soccer match later on), so be there and be square! (Meetup Link)

Augmented Reality and Virtual Reality Accelerating Evolution Of User Interface Interaction

Deloitte recently released it’s 2016 Tech Trends Report which had a section devoted to Augmented Reality, Virtual Reality and the evolution of user interface design and interaction. The report “identifies eight trends that are likely to disrupt businesses in the next 18-24 months – from blockchain to augmented reality, the Internet of Things, socially responsible applications of technology and more.”  The report overall is a great read that you can view here. There’s also some analysis related to Augmented Reality and Virtual Reality in the report with one specific area I wanted to expand on a bit below.

Deloitte’s graphic above captures the essence of the current User Interface (UI) evolution we’re undergoing.  What Deloitte calls “Intuitive Interaction” is more commonly referred to as “The Natural User Interface” or NUI.  Where we started with a Command Line Interface (CLI) in early computing which involved typing input, we are now in the twilight era of the Graphical User Interface (GUI) which has been comprised mainly of point, click and type input.  With the smartphone revolution, the GUI interface evolved to include the touch, swipe and talk inputs that most of us are now familiar with.  However, the NUI era is quickly approaching with the acceleration of Augmented Reality and Virtual Reality technology.  Touch will soon give way to gestures, we’ll be able to interface and control systems by using just our eyes, and most importantly, receptive feedback and response can be performed by a system based on a user’s biometric information and/or reaction.

The most significant impact the NUI will have on user interface design and experience is within 3D space.  Whereas the CLI and GUI dealt with 2D interaction, AR and VR hardware requires operating and interacting in 3D space. Interface design will need to incorporate interaction with 3D virtual objects and how navigation occurs within 3D space.  Kinect already allows for gesture interaction with 3D virtual objects in 3D space, and other augmented reality and virtual reality hardware is focused on 3D space mapping.  On the virtual reality side, the HTC Vive maps out your physical space for virtual reality interaction.  For augmented reality, HoloLens will be able to project 3D virtual objects in your physical field of view (FOV) that are then interacted with via gestures.

This “Intuitive Interaction” is at the heart of the Natural User Interface and why some of the most forward thinking multinational tech companies have invested in or acquired 3D camera and gesture technologies. The list below shows how quickly these companies are positioning themselves for the Natural User Interface era:

All of the above has happened within the last 6-7 years and it’s safe to assume that the Natural User Interface era will arrive sooner rather than later.  For consumers, it might take a bit longer especially on the Augmented Reality side.  Virtual Reality is currently trying to incorporate gesture-based technologies into VR headsets to make a VR experience more interactive (and useful).  But for the enterprise, we are likely to see Augmented Reality have a more significant and immediate impact.  Or as Deloitte sums up in their report:

Emerging technologies that invoke futuristic, seemingly fictional realities can spark a backlash within the enterprise. Executives raised on Gene Roddenberry, George Lucas, and Michael Crichton may be at once curious and dubious about what augmented reality and virtual reality are and, more importantly, how they might impact business. But know that AR and VR are here; their benefits to the enterprise will likely outpace consumer adoption cycles, which is notable given that the market may swell to $150 billion annually by 2020. It’s time to put AR and VR to work—and bring enterprise IT back to the future.”

This article originally appeared on LinkedIn Pulse

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Tecres Virtual Surgery Mobile App

Being able to effectively communicate the features and benefits of advanced surgery techniques and equipment is one of the most important challenges in the medical sector today. Here you find a video of Tecres Virtual Surgery Mobile App. Through an innovative 3D and Augmented Reality interface, the App is employed as one of Tecres SpA most valued enterprise tools to support the sales force present the company products.

The App is available both for iOS and Android and can be downloaded from here:

https://play.google.com/store/apps/details?id=com.inglobetechnologies.tecresmobile&hl=en

https://itunes.apple.com/it/app/tecres/id975840186?mt=8

FMX: VR Technology for Storytellers in 2016

Today, I’d like talk about a few take aways from FMX regarding the mixed reality continuum. Admittingly it’s almost completely about VR – typically people carry around the acronym “AR” in their Powerpoint titles, but don’t really thing about it (which is a shame). Often it has been “VR is so great blabla and today we can do this-and-that… oh, yeah, and there will be AR too someday – somehow”. Nevertheless, VR is pretty damn cool and worthwile for sure. So, let’s dive into it and I will point to AR comments where possible.

Classic Story Telling

At FMX we typically encounter ready-made art, pre-prendered stories, pre-written suspense, pre-selected angles and cuts, edited to fit a stand-alone “created-once, always-valid” single vision. The director of photography selects an angle, the director and editor find the best moment to speed up time through cuts and location jumps and the art department and the CGI and renderings artists let it appear visually appealing. They have all the time in the world for a single result (e.g. the Jungle Book had 240 million render farm hours with 1.984 TB of data). Last years game engines caught more and more attention – for quick previs during the production (sorry, I have to brag here and say: that took a while, guys! We did this in 2005 with Quake3 for movie previs). But 2015/16 everybody realizes that VR will really arrive and be there to stay. Everbody is in their trial & error research state and has a mobile and tethered VR demo up their sleeves. So, what’s the state today?

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Current Technology & Constraints

Regarding the current state of technology everybody was pretty excited about 2016 – kind of that historians could say “the year VR broke through” and people do their Kniefall to VR all of a sudden, seemingly apologizing for their unawareness over the last years.

It was often said that we are now in the lucky days were VR hardware and software becomes broadly available – and can be dirt-cheap! (For the German readers: when Tchibo sells VR cardboards, you know it’s mainstream! But don’t run away!) Currently we are in the wild west of VR dawn and there are no real standards – regarding SDKs or guidelines. People might moan about it, but can also see it as a chance to have faster evolution cycles as a standard committee is not stopping innovation just for the sake of compatibility (especially in Europe industry standard definition can take forever!). Nevertheless, I hope we can reach some kind of open standard for VR, when you think of it as a the successor to the internet!

So, what is possible today? We see many single-player “VR experiences” that last a few minutes using gamepads or tracked controllers. Some with room-scale movements, some without. If we talk about captured live performance we mostly talk about mono 360° video content, if it’s full CG, we reach stereo. Some demos extend the volume to move through by external tracking and backpacked computers to be wireless or allow a multi-user experience with added 5-point motion tracking per user (head, hands, feet). Tracked controllers allow us to interact almost naturally with virtual objects.

What we don’t see are AR demos (not ready yet) nor high-end renderings on untethered VR HMDs. Neither do we see remote cooperation or education tasks in VR (but to be fair: FMX is about entertainment and storytelling). Body suits for fully inside-out motion capture are available that could be hooked up to VR – but would you want to jump into the sweaty suit from that guy before you in line? Missing completely are live demos allowing gesture interaction with our own hands. It’s just not there yet as it seems (though research on it was presented and everybody is hooking up their Leaps to their HMDs at home).

In any case we do have a good toolset to start with in 2016! So, what do we do with it and what do we need to consider? How will the future be with it? I’ll dive into this with the next post!

Cheers!