Wednesday, 20 November 2024

New Mode in ‘Gorilla Tag’ & $2.6M Investment in ‘Digigods’ Cements UGC as Crucial Social VR Feature

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One of VR’s biggest hits, Gorilla Tag, is expanding a previously tested level creation mode and making it a permanent part of the game. The so-called ‘Monke Blocks’ allow friends to build together and then play inside of their shared creations. Meanwhile, the studio behind the up-and-coming Digigods social VR game recently snagged a $2.6 million investment. Both developments show that user-generated content (or UGC) has become a central pillar to successful social VR games.

VRChat, Rec Room, Roblox, and Horizon Worlds are all social VR games that have found major traction. And all of them share a common thread: user-generated content. Friends that build together, stay together… apparently.

From the outside, indie VR hit Gorilla Tag might look more like a straightforward multiplayer game than a social VR app. But the title’s seamless multiplayer framework (where players can literally wander from one lobby to another) and free-form rules have made it as much of a hang-out and playground as it is a pure game.

And now, with the inclusion of the ‘Monke Blocks‘ feature as a permanent mode, Gorilla Tag is taking yet another step into the realm of social VR by giving players the ability to build and play within their own creations.

Image courtesy Another Axiom

Using a block-based system, players can collaboratively snap pieces together to build new levels, then shrink themselves down to jump around those levels just like they would in any normal round of Gorilla Tag. In fact, while some players are normal-sized and busy constructing their blocks, other players can be shrunk down and exploring the ongoing creation at the same time.

To monetize this new feature, players will be able to purchase new sets of blocks (to expand the look and feel of their creations) using Gorilla Tag’s premium currency called ‘Shiny Rocks’. The first set will have “medieval castle-themed pieces” and be priced at 6,000 SR (about $30).

Image courtesy Another Axiom

This kind of ‘build and play’ setup is known as user-generated content (or UGC), and it has become a central pillar of successful social VR games, both old and new.

And the next title from Another Axion (the studio behind Gorilla Tag), called Orion Drift, aims to do something similar, by giving players access to a huge playground and letting them decide where to go and what to do. In the future, the studio says players will be able to make their own mini-games and rules within.

We reported earlier this year that the UGC-focused Yeeps had already reached 360,000 monthly active users. This month Squido Studio, the developer of another UGC-focused game called Digigods, raised a $3 million seed investment from Triptyq Capital, with participation from Grishin Robotics, FJ Labs, Hartmann Capital, Fairway Capital, Earthling VC, and the Canada Media Fund (CMF), according to VentureBeat.

Digigods launched in April 2024, less than a year ago. Even so, its UGC-centric design has already attracted 100,000 unique players, according to VentureBeat. Not to mention more than 10,600 user reviews, averaging 4.8 out of 5 stars (a rare feat among games on the Quest platform). It remains in Early Access for now, but could be poised for accelerated growth once it reaches its full release.

While UGC is the clear unifying theme across all the most successful social VR games, there’s also a clear division between old and new: the way players move.

While the older generation of social VR games like Rec Room, VRChat, and Horizon Worlds all use traditional thumbstick or teleport locomotion, the newer generation (Orion Drift, Yeeps, and Digigods) all lean heavily into the arm-based locomotion that was popularized by Gorilla Tag. That makes Gorilla Tag the dividing line between old-school and new-school when it comes to social VR games.

In many ways, that same division in locomotion method seems to also be a division in demographic. The new-school, which their arm-based locomotion, seem to have populations that lean more toward Gen Z than the millennial and older crowd.

The post New Mode in ‘Gorilla Tag’ & $2.6M Investment in ‘Digigods’ Cements UGC as Crucial Social VR Feature appeared first on Road to VR.



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Microsoft is Launching Automatic Quest 3 Pairing on Windows 11 PCs in December

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Meta announced at Connect in September it was working with Microsoft to bring Windows 11 PCs the ability to automatically pair with Quest wirelessly. Now, the companies say we can expect preview access in December.

The feature will allow Quest 3 and Quest 3S to connect to Windows 11 PCs for a multi-monitor work environment—pretty familiar territory to anyone who owns a Vision Pro and some flavor of Mac, as Apple’s XR headset has been able to similarly connect via Mac Virtual Display since launch in February 2024.

Microsoft says it’s launching the feature in public preview at some point in December, which they hope will appeal to users looking to increase productivity.

“Windows in mixed reality brings the full capabilities of Windows 11 to mixed reality headsets, starting with Meta Quest 3 and Quest 3S. Access to your local Windows PC or Windows 365 Cloud PC from a Quest headset is seamless and it takes only seconds to connect to a private, high-quality, multiple-monitor workstation,” said Melissa Grant, Microsoft 365’s Senior Director of Product Marketing in a blog post.

At the feature’s unveiling at Connect in September, Meta teased the ability to seamlessly connect to the PC by simply looking at the keyboard, allowing you to instantly access the computer and drag windows across the multiple virtual monitors—a notable departure from the Remote Desktop experience available when using Meta’s own Air Link.

And while Quest has largely filled the role as VR’s premier standalone game console, Meta CEO Mark Zuckerberg thinks greater Windows integration is a step in the right direction for Quest.

“This is the path to building a general computing platform,” Zuckerberg said. “It’s not just games, although [Quest] is really good at that. You’re also going to be to use it for apps, watching videos, and all of the different things you would do with a general purpose computer. Quest is the full package.”

We’ll be keeping an eye out for release dates, and will update this piece when we learn more.

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Tuesday, 19 November 2024

‘SUPERHOT’ Spiritual Successor ‘Action Hero’ Launches on Quest Next Month

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VR veteran studio Fast Travel Games today announced that its Superhot-inspired VR shooter Action Hero is set to arrive on Quest next month.

Action Hero sets the stage by integrating the same time-stopping movement mechanic seen in Superhot and Superhot VR; time only moves when you do, letting you tactically plan out flourishing gun kata worthy of John Wick himself.

Coming December 12th to Quest 2 headsets and above, Action Hero instead puts players into the role of the protagonist of five different ‘movies’ which span multiple genres.

“Every film consists of four acts, each featuring five scenes. Players progress through scenes by defeating enemies, and dodging obstacles in cinematic slow-motion, with time speeding up when players move faster. Quick reflexes and skillful planning are essential; take a hit and you’ll go back to the beginning of the given act,” the studio says.

Fast Travel Games has revealed a few genres so far, including a heist movie, an Indiana Jones-style adventure, something with cyborgs, and a ninja flick, the latter of which was featured in the game’s latest trailer, seen above.

Besides blasting various baddies in slow-mo, Action Hero is set to include boss encounters and different weapons for each movie, which the studio says will include five additional ‘Director’s Cuts’, letting you dive into a modified version of each level for “new, more challenging and wacky scenarios.”

Action Hero is coming exclusively to Quest 2 and above on December 12th, priced at $20. In the meantime, you can wishlist the game on the Horizon Store here.

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‘Gorilla Tag’ Studio Opens ‘Orion Drift’ to All Quest Users Tomorrow for Two-Day Server Test

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Another Axiom, the indie studio behind VR phenomenon Gorilla Tag, is opening up its next project Orion Drift to all Quest users tomorrow for its first server scalability test.

Currently in closed early access, Orion Drift packages in Gorilla Tag’s immersive movement mechanic with some of the action of the now-defunct sports game Echo VR, promising to serve up an activity-packed social VR space for up to 200 players.

Now, Another Axiom says it’s opening Orion Drift to Quest users for a server scalability test that’s set to last two days: November 20th – 21st. Doors open at 10AM PST on November 20th—check your local time here.

The studio says the test is primarily to see how the game’s servers auto scale with a large population of players, which will be limited to 75 players per-server during this test.

“As we get further into development we will continue to raise that number higher with a target goal of 200,” the studio says on the game’s Discord (invite link).

During the test, players will be able to explore each district and play in all available game modes, which will also include work-in-progress activities. Driftball, the game’s high-flying team sport, is “the furthest along in development in both features and art,” the studio says.

The test will be open to users in North America and Europe, however the studio says it’s currently investigating whether it can offer support to Oceania as well.

If you’re looking to pop in, Another Axiom says there will be developers present, who will be on-site to answer questions and concerns.

In the meantime, you can already grab Orion Drift on the Horizon Store, which supports Quest 2 headsets and above.

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Monday, 18 November 2024

‘Batman: Arkham Shadow’ Behind-the-scenes – Insights & Artwork from Camouflaj

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Batman: Arkham Shadow had a lot to live up to. Not only were the developers trying to bring one of the world’s best known-superheroes to VR, they were also building a radical new to play a revered game series that hasn’t had a mainline entry since 2015. Following its first superhero success (Iron Man VR in 2020), Batman: Arkham Shadow launched to critical acclaim, cementing developer Camouflaj as one of the industry’s most capable and versatile VR studios. To learn more about how it all came together, we sat down to speak with game director Ryan Payton, design director Ryan Darcey, and art director Matt Kohr.

Editor’s Note: The exclusive artwork peppered throughout this article is best viewed on a desktop browser with a large screen or in landscape orientation on your phone. Also note that photos may reveal spoilers of locations and characters seen in the game. All images courtesy Meta and Camouflaj. 

Bigger and Better (and Batman)

After successfully launching Iron Man VR for PSVR in 2020 (and later bringing it to Quest), Camouflaj was ready to figure out what was next. While it would have certainly been easier to build upon the unique design of Iron Man VR for a sequel, the studio instead opted to tackle a whole new challenge, and a bigger one at that.

“While wrapping up development work on Marvel’s Iron Man VR for PlayStation VR, we were contacted by Mike Doran and his colleagues at Oculus Studios who inquired about Camouflaj’s future plans,” recalls game director Ryan Payton. “When I told him that we were eager to do something even bigger and better in VR, that perfectly aligned with their aims, as they were on the hunt for developers who could make even bigger VR games than what was currently in the market.

Payton and his team at Camouflaj had worked with Oculus Studios on the studio’s first VR game, Republique, and was excited at the opportunity to work with them again. And even though the studio had the experience of Republique and Iron Man VR under its belt, Payton was worried about trying something as ambitious as making Arkham’s signature combat work in VR.

“[…] we explored two or three opportunities with Oculus Studios until I got the phone call that they wanted us to pitch Warner Bros Interactive on a new, VR-exclusive official entry into the Batman Arkham franchise. I remember being intrigued by the idea given how much I love Batman, but I was worried we wouldn’t be able to faithfully translate the classic freeflow Arkham combat into VR,” Payton says.

But Payton trusted the talent of his team. Especially design director Ryan Darcey, who was confident Camouflaj was up to the challenge.

“Ryan Darcey, was far more optimistic about our ability to execute on all the core Arkham tenets, especially on the gameplay side. He pointed to our ability to defy expectations with Iron Man VR and asked, ‘why couldn’t we do it again?’ Due to his high degree of confidence, I jumped head first into the pitch process with WB Interactive, focusing mainly on the high level vision and story of the title while Ryan Darcey and our incredible development team created a handful of gameplay prototypes,” says Payton. “By the end of the pitch process, we had two fantastic gameplay prototypes—one for combat, and one for grapple and cape glide locomotion—that blew everyone away. That was also right around the time our art and rendering team put together a beautiful slice of Gotham that demonstrated how great the game would look on Meta Quest. By then we were firing on all cylinders, and we haven’t let up on the gas pedal since then.”

Adapting a Known Quantity

Camouflaj had the challenge of not just making ‘Batman’ work in VR, but an already well-defined version of Batman, complete with its own signature gameplay: the Arkham series. That meant figuring out how to bring the feeling of Arkham to the game, but making it work with the unique constraints and opportunities of VR. I asked Darcey which of the mechanics the studio built for Arkham Shadow that he liked the most.

“I’d have to choose the Grapnel Gun for its versatility in VR. One of the most difficult aspects working in this medium is figuring out how the player is going to comfortably locomote through the world. Of course, we’ve got ‘smooth movement’ control on the analog sticks when you want to explore the environment immediately in front of you, but for covering great distances at speed, grappling is such a wonderful solution that the IP provides us right out of the box,” Darcey says. “In addition to its locomotive properties, acquiring the Batclaw opens up some of my favorite moments in combat. It’s so satisfying to yoink an enemy from across the room and then smash him to the ground. It feels exactly like you’d want it to feel in VR: visceral and intuitive.”

Ironically, adapting known gameplay tropes (like those already well-established in the Arkham games) for VR requires completely rethinking how things should work. Separating the concept from the mechanic—and then building brand new VR-specific mechanics that stay true to the concept—is the key challenge. When I asked Payton where he feels the game was most successful in this venture, his answer was clear.

“When you look at the critical response to the game, I think there’s no question that Batman: Arkham Shadow’s combat suite is the star of the show. The team did a fantastic job reimagining the classic Arkham combat to lean into the strengths of VR, delivering something that feels both familiar and incredibly fresh,” he says.

Payton also recalls knowing internally that the team was onto something. Despite a mixed reaction to the initial reveal of Batman: Arkham Shadow, he says the studio kept charging ahead.

“Back when we announced the game to the world on May 1, 2024, the internet had a visceral reaction to the game, to put it lightly. Thankfully the team at Camouflaj didn’t blink, as we were confident we were building something great. If anything, we were just eager to show more of it […],” he says. “All of this reminds me of a documentary I recently listened to about a band I follow. They knew they had a killer single from early in the recording process of their next album, so they were able to write and record the remainder of the album with confidence. I think Arkham Shadow’s combat was that ‘killer single’ we knew could carry the game if it needed to. Thankfully, however, so many other aspects of the game also landed extremely well, from the game’s story, level design, cutting edge visuals on Quest 3, and ray tracing-powered audio. It’s a complete album, if you will, and something we’re extremely proud of.”

But nailing the basic combat in VR wasn’t the only challenge. Darcey recalls the challenge of fusing the game’s standard combat with more extravagant boss fights—something the other Arkham games are well known for. To make it feel right, the studio focused on research.

“It was surprisingly difficult to create boss fights in VR. Like our other feature sets, we wanted to take inspiration from the previous titles as much as possible. We started by watching ClownPuncher’s video ranking all the Arkham boss fights and then selecting boss inspirations that both fit well with our villains and represented a variety of boss fight styles. For example, Joker Fun House in Arkham City (Horde Brawler), Deathstroke in Arkham Origins (One vs. One Brawler) and Ra’s Al Ghul in Arkham City (Giant) were all fights that we referenced for our game,” says Darcey. “Boss fights are difficult, in general, but the thing we found most difficult was translating the feel of Arkham bosses was related to the transition from third to first person. We experimented with all sorts of attacks and environmental hazards that were meant to complement the core combat, but we kept failing because there is such reduced situational awareness in first person. Ultimately, we needed to figure out a way to keep the action in front of the player whenever possible, and to avoid attacks coming in from offscreen.”

Though the team did an impressive job of making an Arkham game for VR that still feels like an Arkham game, not everything the team attempted worked. Knowing what to cut and what to keep is part of the art of making games, and Arkham Shadow was no exception. Darcey remembers some of the work the team did that ultimately didn’t make it into the finished product.

“As it always goes with games, you’re never going to ship all the ideas you come up with, regardless of how good they are. The trick is to focus the team’s energy on the most impactful features that complement the major themes in the game and overall campaign structure,” he says. “The first major category of features that you’ll find on the cutting room floor is enemy prototypes. We largely pulled from the classic Arkham archetypes—as you’ll see in the final game—but we also experimented with some new ones, as well. One of my favorites was a four-legged TYGER Robotics dog that leveraged smell to sense the player sneaking up from behind them in predator encounters. The only way to defeat it was by attacking from above or breaking your stealth and facing it head on.”

The robo-dogs ultimately didn’t make it into the game, nor did a few of the gadgets the team had experimented with.

“Another category of features that we couldn’t fully fit in the game was gadgets,” Darsey says. “A favorite there was the Remote Batarang developed by Sean Brennan. Everyone on the team was skeptical we’d be able to recreate a comfortable experience that accurately translated the feature from the previous Arkham games, but Sean nailed it right out of the gate. Upon releasing the Remote Batarang via a throw, the camera smoothly attached itself to the Batarang and then the player was in full control flying through the air. It was slick.”

Continue on Page 2: A Classic Look for a Modern Game »

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‘Hitman World of Assassination’ Delayed on PSVR 2 to March 2025

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Hitman World of Assassination was slated to arrive on PSVR 2 next month, but now developer IO Interactive says it’s delaying release to March 27th, 2025.

“This decision to move the release date was not made lightly; we know there was a lot of demand to bring Hitman on PS VR2, and we were excited to see the great reception following the announcement,” IO Interactive says in a PS blog post.

“As such, our priority will always remain to deliver an amazing experience that meets the high standards our players expect.”

The studio says its using the additional time to polish the game and add “a few extras” for the PSVR 2 version, which now includes manual reloading in addition to the previously revealed addition of dual-wielding, full ambidexterity, and a sniper scope that actually works—promising to be a big upgrade over the PS4 version for the original PSVR.

Additionally, Hitman World of Assassination for PSVR 2 is also bringing what the studio calls “a more physics-based approach” for donning disguises, which includes physically grabbing disguises and applying them instead of simply pressing a button.

This comes in sharp contrast to the VR-supported game on PS4, which ties all movement and object interaction to DualShock 4 controllers, and doesn’t offer the sort of standard motion controls players are used to on its other VR supported versions, such as the PC VR-compatible version or the widely panned Hitman 3 VR: Reloaded port for Quest 3 and 3S.

While PSVR 2 support isn’t coming as a free update to the Hitman World of Assassination on PlayStation 5, it will be cheap enough—priced at $10/€10/£9 as a part of an upgrade pack launching on March 27th, 2025.

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Meta Opens Project Aria to Researchers Tackling All-day AR Challenges

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Project Aria is a pair of sensor-packed glasses which Meta has been using internally to train its augmented reality perception systems. Now, Meta revealed it’s released Project Aria to a number of third-party research teams aiming to tackle some of the most complex challenges in creating practical, all-day AR glasses of the future.

Announced in 2020, Aria doesn’t include AR displays of any type. Instead, the company designed the glasses to help develop the “safeguards, policies and even social norms necessary to govern the use of AR glasses and other future wearable devices.”

One early collaboration was with BMW, exploring how Aria might inform how AR glasses will one day serve up stable virtual content in moving vehicles—undoubtedly a big piece of the puzzle considering Americans spend around one hour in a car per-day on average, according to AAA.

Now, Meta announced it’s also partnered with a number of universities to develop research projects centered around the sort of things that will be important for all-day AR.

Project Aria | Image courtesy Meta

Meta says partners using Aria are currently researching advanced topics such as goal-driven human interaction (University of Bristol), sound localization for hearing aid innovation (University of Iowa), driver intent prediction for accident prevention (IIIT Hyderabad), and audio-based indoor navigation for the visually impaired (Carnegie Mellon University).

Notably, Meta is still accepting applications, which gives approved teams access to Meta’s Aria Research Kit (ARK), which includes the Project Aria hardware and SDK. The company says it also hopes to spark a variety of research topics such as embodied AI, contextualized AI, human-computer interaction (HCI), and robotics.

Meta envisions a future where AR is an integral tool for communication, entertainment, and utility, although getting there requires slim, all-day wearable AR glasses, which hasn’t been easy.

At Meta Connect in September, the company revealed one such prototype, called Orion, which features an impressively slim glasses form-factor, a separate wireless compute unit, and EMG wristband that can detect subtle movements of the user’s hand and fingers.

Orion | Image courtesy Meta

While Project Aria focuses on foundational research, Orion showcases Meta’s future ambitions for wearable AR, which is expensive. According to a report from The Verge, it cost Meta nearly $10,000 per unit to build due to its difficult to produce silicon carbide lenses, which feature a class-leading 70 degree field-of-view.

While Meta CTO Andrew Bosworth says the company hopes to launch such a pair before 2030 based on its work with Orion, at its unveiling, Meta made a point to note that Orion is “not a research prototype,” making it doubtful we’ll ever see this particular iteration in the hands of university teams.

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