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The Virtual Arena: The Ascendance of Arena-Scale Entertainment – Part 1

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In the first of a two-part report observing the current immersive Out-of-Home entertainment scene for VRFocus, Kevin Williams latest Virtual Arena looks at the re-emergence of LBE though the popular free-roaming entertainment trend. Evaluating the pitfalls, and the early fallers, and those operations that have re-opened and hope to define the next phase of business. 

While some pontificate that location-based VR has probably taken a terminal hit from COVID – at the same time we have reports on the reopening of venues in Asia and Europe and even America, and see the return of the audience, though in tentative numbers. One aspect of the successful growth of LBE VR before the ravishes of the global health crisis closed all forms of social interaction and entertainment, was the growth in interest of “Arena-Scale”, also dubbed “Free-Roaming” or in Asia “Walking Attractions”. Players donning powerful backpack PC’s and taking part in multi-player immersive experiences. The compelling nature of these experiences were such that major venture capitalists had vied to invest considerable sums in the early developers of this genre of immersive entertainment.

But even before the global-pandemic suspended business, cracks in the business proposition of some arena-scale operations had started to manifest. Gradually exiting lockdown and the issues that impacted some business plans has been magnified, and we start to see the damage inflicted by a loss of revenue. While some of these immersive operations are facing more permanent closures, others are seeing renewed interest in their offering and a new arms race to dominate what is still seen as a lucrative opportunity.

The “Next Gen” virtual playing Arena: Image credit: Bandai Namco

The Landscape Ahead

Seen as one of the first exponents of the concept of immersive, free-roaming experience – The VOID tantalized the investment and operations community with a dream of transporting groups of players into a magical virtual environment, (what the company labelled “Hyper-Reality”), powered by their claimed unique “redirected walking”, with physical effects and props. Seen as one of the prominent representations of the growth in interest in free-roaming immersive experiences – the company had high profile investment, initially from the Disney’s Accelerator fund, including business mentorship that saw development resource through ILMxLab.

The VOID has been heavily dependent on the development resources of ILMxLab for most of their content, with only Ghostbusters, and horror-experience Nicodemus developed internally (in partnership with Ninja Theory), receiving mixed reviews. It was however the draw of the big IP and crafted VR experiences based on blockbuster movies that drew the attention. Much of their hyped original design hardware would have to be scaled back to reverting to off the shelf hardware, such as their tracking system from OptiTrack or their headset, in reality, being made with components from an Oculus CV1 unit, eventually under license, (after a planned in house design was abandoned). The company at its hight operating some 17 facilities offering a selection of Walt Disney movie IP VR experiences. But the sites opened seemed to offer conflicting information on their actual success, and cracks started to appear.

The company had seen a churn in management, with the revolving door of top executives. Also, behind the scenes the operation had been haemorrhaging finances, plans for a permanent London site was abandoned near completion, and a total restructuring of the operation. Deals were signed with the shopping sector to place a new model of the attraction that was hoped to address the difficulties of audience retention. Things, however, had not gone as planned for The VOID operation, with numerous major executive departures and claimed venue expansion abandoned. Sources suggested that investments were being stretched and revenues were not proving as expected. By this time, the full impact of the global health crisis by March 2020, and all 17 VOID facilities had been at the time temporarily shuttered. But then things started to take a new turn, sources revealed information that one and then a second The VOID facilities on Walt Disney property had posted notices announcing their permanent closure and that all assets associated with Walt Disney were to be removed.

The shut-down order posted on The VOID Disney locations doors. Image credit: WDW

An incredible silence has enveloped an operation that was once so prolific at promotion – while the US venues remained closed, with no information at this time on what the situation of their reopening will be, with only the Malaysia (Genting) venues had reopened for business since August. The VOID Malaysia site had removed all their Disney themed experiences only offering ‘Nicodemus’ and ‘Ghostbusters: Dimension’. And that was all the information that could be garnered at this time. Many will try and paint this as a bigger problem with the free-roaming VR sector, there seems to be a pattern emerging from the initial operators that expensive IP and a problematic business model has been accentuated by the financial impact of the COVID Lockdown.   

There is another recent recipient of investment and mentorship from the Disney Accelerator fund that is based in the arena-scale VR sector. Japanese start-up Tyffon has opened their own Tyffonium – Magical-Reality Theater – a backpack VR experience centre. While less well-known than the other Disney Accelerator investment in VR attractions, the operation had developed internally three attractions which they operated in their two Japanese venues. Much more aimed at a theatrical, sensory experience, looking at young couples as a key demographic, offering three game experiences that support up to four VR players for 30-minute durations. The operation would go on to raise their Series A round of funding – added to the previous investment this saw the company valued at $12 million by the end of that year. With this investment, the operation had received publicity towards a plan to open in the US. By March of this year, the Japanese operation had entered lockdown, with plans for the US operation still on the drawing board, and their 35 employees furloughed, though the facilities did reopen by October.

The unique couples focused VR game experience from Tyffon. Image credit: Tyffon

Another of the early pioneers, wanting to carve out an empire for themselves was Dreamscape Immersive. Described as a “Virtual Reality Experience Like No Other”, the company took on a movie theatre style of approach to offering their unique platform – having amassed an impressive cadre of investment from powerhouses from the movie industry. Investors also included AMC and IMAX – cinema legends looking at the concept of LBE VR, to address flagging movie ticket revenue. Along with an impressive lobby presenting the VR experiences on offer like movies – the guests in groups of six would enter donning rooms, putting on their PC backpacks and wearing foot and hand tracking devices based on the Vicon system. Then once inside the VR room, would put on their headset (originally the Oculus Rift CV1, but later the company would migrate over to the HP Reverb platform) – the environment offering physical effects within the space that mirrored the high-quality virtual experience rendered for the players.

Dreamscapes’ facility operation had opened first in Los Angeles, as part of the Westfield Century City shopping mall in the shadow of an AMC theatre, in Dallas and Columbus, and then venturing to Dubai. This UAE-based location reopened in July and has seen strong returning audiences – proving the health of LBE VR post-COVID lockdown. October will see the US chain of stores also reopening. But following the upheaval in business following the health crisis the corporation revealed the acceleration of plans for a brand new initiative. Dreamscape Immersive, partnered with Arizona State University (ASU), to launch ‘Dreamscape Learn’. The concept is for “Immersive Education” avatar-driven VR experiences being offered to both campus-based and online courses; planning to start with introductory biology and eventually expanding throughout the sciences and beyond, (vetted by top professors and learning scientists).  The plan will utilize the immersive VR story lead experience of the VR company married to the educational platform for students and explorers to create a unique learning environment (immense VR “laboratory”) which will see virtual pods created to traverse students around virtual environments.

A capture of the ‘Dreamscape Learn’ immersive VR laboratory. Image credit: Dreamscape

Numerous developers of arena-scale platforms had already started the process of redressing their business model to embrace new verticals. One of the front-runners in the development of IP based arena-scale VR experiences was the new operation SPACES. The company retained a wealth of experience having been spun out of DreamWorks Animation back in 2016. The corporation saw investment from Tencent and other leading players launched its first arena-scale platform with Terminator Salvation: Fight for the Future, opening the first permanent location in San Jose and then a temporary installation in partnership with Cinemark. Also, SPACES had signed agreements with SEGA JOYPOLIS to install its VR experience at their Japanese sites. The operation was in the process of redefining their offering following feedback as the global crisis hit, but its innovation continued, and pivoted during lockdown to create a ground-breaking VR based video conferencing product. The interest in this product was such that SPACES announced in August that the company had been acquired by tech-giant Apple, for an undisclosed sum.

Sandbox VR had been a prominent name in the LBE VR business, coming from a meteoric rise supported by the Alibaba Entrepreneurs Fund, and raising some $68m and $11m round of investment. With this investment, the operation focused on both improving the level of experience on offer, signing a licensing agreement to use major IP, such as releasing an experience based on ‘Star Trek: Discovery’. In total some 8 venues, split between Asian sites and their first few US locations, offering four-player backpack PC VR, using Oculus Rift CV1 headsets. But following the lockdown, Sandbox VR (Glostation USA Inc.) filed for Chapter 11 protection in August, this was on top of the previous announcement of the loss of their original CEO and 80-per-cent of their workforce. It was revealed that the company had started to reopen its venues, promoting new safety measures to ensure guests and staff post lockdown. The restructured management evaluating a plan of survival with the VR centre (single attraction) model.

Players beaming into Sandbox VR’s Star Trek: Discovery adventure. Image credit: Sandbox VR

While not getting the same publicity as other arena-scale installations in the West, one of the first VR ZONE free-roaming offerings developed by Bandai Namco and being shuttered at MAZARIA is Dragon Quest VR. Developed for the original VR ZONE brand back in 2018 the videogame is based on the popular RPG property, with four-player PC backpacks (HTC Vive headset) – it’s one of the few arena scale installations that use wholly unique player interfaces representing the shields, and swords of the game. This was not the only Arena Scale VR attraction Bandai Namco developed – with a Ghost In The Shell property, (‘Ghost In The Shell: Arise Stealth Hounds’) back in 2017. Going on from the closure of their MAZARIA facility, the corporation is reappraising its approach to VR and immersive entertainment, with new plans to be revealed soon that could see new free-roaming properties.

Players working as a team against the bosses in Dragon Quest VR. Image credit: KWP

Other Japanese amusement factories that operate their own venues in the territory have been attempting to jump onto the arena scale bandwagon. CAPCOM with its PLAZA CAPCOM chain of sites has added the CAPCOM VR-X areas to their landscape, and with that created a unique arena-scale VR experience based off corporation owned IP. Biohazard: Valiant Raid (better known in the West as Resident Evil) launched last year, the four-player experiences negates the use of cumbersome backpack PC’s for a restricted player space using tethered HTC Vive headsets and customized controllers.

One of the largest of the Japanese amusement and gaming corporations is SEGA, and they have invested heavily into VR attractions for their facility business. Under the SEGA Joypolis VR chain, operated through CA SEGA JOYPOLIS (the co-Chinese and Japanese partnership), the company has deployed several third-party VR attractions. At this time SEGA’s amusement GM division has not created a unique VR platform of their own, favouring in representing other developers’ products as they evaluate the opportunities provided by this technology. The Asian market has seen the adoption of the term “Walking Attraction” when describing arena-scale VR experiences, the PC backpack offering freedom over tethered enclosures. Such operating systems include Mortal Blitz for Walking Attraction, developed by Skonec Entertainment. SEGA had also fielded the system from SPACES (as mentioned above), and later the Zero Latency free-roam experience in several Joypolis sites.

Zero Latency is one of the earliest to see the opportunity and unique compelling nature of free-roam VR entertainment. The company deploying their first facility in 2014, and then went on to establish and defined their unique up to eight-player immersive arena experiences, amassing a considerable library of seven popular games. Emerging from the global lockdown, the company has continued to plough a course in this sector. Developing their own backpack harnesses, haptic game controllers, along with the needs for appropriate briefing, loading, and unloading of players, staff training, all packaged in a franchisee offering operations have added to their entertainment venues. The company announced a major partnership to bring AAA content to their platform, Ubisoft – creator, publisher and distributor of interactive entertainment and services revealed that it would be bringing its million-selling consumer game license to VR with Far Cry VR: Dive into Insanity. This LBE VR experience for up to eight players takes them back to Rook Islands, the setting of‘Far Cry 3 for some intense action. Working in partnership to develop and implement their multi-player combative experience with Zero Latency, the game will be released across their 45 venues in 22 countries during 2021.

Image credit: KWP

This concludes the first part of this extensive coverage; we will now look at the rest of the sector and the new entrants bouncing back into business after lockdown in the following coverage.

Source: https://www.vrfocus.com/2020/10/the-virtual-arena-the-ascendance-of-arena-scale-entertainment-part-1/

AR/VR

Go Behind Enemy Lines in Medal of Honor: Above and Beyond’s First Multiplayer Trailer

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Respawn Entertainment’s Medal of Honor: Above and Beyond is gearing up to be the biggest virtual reality (VR) launch of the month, coming to PC VR headsets next week. The studio has been fairly vocal about the single-player campaign and the Gallery feature yet remained secretive about the multiplayer. Until now of course, with the first trailer dropping for the online mode.

While the campaign has you fighting Nazi’s the multiplayer is more concerned with all-out battles across Europe, with everyone in period clothes to ensure no one really stands out – as you would in an SS uniform for example.

The multiplayer is split across five gameplay modes, all of which support 12 players matches involving both human and AI opponents. These are:

  • Mad Bomber: Plant bombs to score big kill points and defuse opponents.
  • Domination: Control large areas with your team.
  • Team Deathmatch: Your classic squad-based mode. Most kills win.
  • Deathmatch: A WWII free-for-all.
  • Blast Radius: Adds an explosive twist to King of the Hill. Keep opponents at bay with a rocket launcher.

The multiplayer is entirely cross-platform, so you can jump in via Oculus Rift through the Oculus Store and team up with mates who are using a Valve Index or HTC Vive via Steam.

Not only does the trailer showcase all the individual gameplay mode but you get to see some new levels, fighting on ships, in small village squares and inside fortified bunkers. Plus there’s plenty of immersive realism throughout, whether that’s reloading weapons, throwing enemy grenades back at them or using cover to maximum effect.

As for the rest of the videogame, Medal of Honor: Above and Beyond will offer a single-player campaign where you’re a part of the Office of Strategic Services (OSS) aiding the French Resistance on daring raids against Nazi bases. The Gallery then adds weight to the entire experience with short documentary films featuring interviews and stories recounted by WWII veterans.

Medal of Honor: Above and Beyond will launch on the Oculus Store and Steam on 11th December 2020, supporting Oculus Rift, HTC Vive and Valve Index. For further updates, keep reading VRFocus.

Source: https://www.vrfocus.com/2020/12/go-behind-enemy-lines-in-medal-of-honor-above-and-beyonds-first-multiplayer-trailer/

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Rhythm of the Universe: IONIA Confirmed for Oculus Quest & PlayStation VR in 2021

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VRFocus first came across ROTU Entertainment’s Rhythm of the Universe: IONIA during the Electronic Entertainment Expo (E3) last year, promising a musically-theme virtual reality (VR) adventure. The team had slated a Q4 2020 launch for PC VR headsets, instead, revealing today that’s been pushed back as more platforms are included, Oculus Quest and PlayStation VR.

When it comes to the Oculus Quest version ROTU Entertainment confirms that it’ll be a native app, so there’s no need for a PC and Oculus Link – although that’ll also work. Because of the additional headset support, Rhythm of the Universe: IONIA is now slated for a Q2 2021 launch.

“We’ve made the decision to delay our musical theory puzzle adventure so we can bring it to Quest and PSVR players at the same time,” says Jason Parks, ROTU CEO in a statement. “We want everyone with a VR headset to be able to explore the gorgeous world we’ve created from our experiences working extensively with international musicians and documenting the deforestation of the Amazon.”

The extra headset support should increase sales and therefore aid the charity ROTU Entertainment has teamed up with, environmental non-profit Wildlife Warriors. Two percent of proceeds will go to the organisation, established in 2002 by Steve and Terri Irwin to protect injured, threatened or endangered wildlife.

Rhythm of the Universe: IONIA will be a big series by the looks of it, with this initial release the first of seven planned instalments. While each will have that musical puzzle theory at its core, the studio notes they’ll all enjoy ‘a distinct look and feel’.

The videogame places you into an otherworldly forest, teeming with strange creatures as well as instrument-inspired flora and fauna. From solving puzzles using music-based magic to climbing trees, ziplining across trenches and collecting supplies, you’ll stumble across hidden areas and eventually heal the forest through the power of song.

Take a look at the new trailer below, and for further updates on Rhythm of the Universe: IONIA, keep reading VRFocus.

Source: https://www.vrfocus.com/2020/12/rhythm-of-the-universe-ionia-confirmed-for-oculus-quest-playstation-vr-in-2021/

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Mixed Reality Revolution: Out-of-Home!

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With the latest news of a major ‘AR-powered’ theme park attractions, this news underlines the investment this sector is making in these types of experiences in the attraction scene. Kevin Williams gives a brief overview of the deployment that has led to these latest announcements concerning Super Nintendo World.

The use of Mixed Reality (MR), in both augmented and virtual reality (AR/VR) presentations, as well as the use of projection mapping and immersive display technology has seen increased investment for application in theme park, and attractions deployment. These developments have been leading steadily towards more advanced deployment, while consumer applications seem to have advanced little since Pokémon Go!  

The use of MR in attractions has been broken into two key areas of utilisation so far. The first being “Props” – systems that interact with elements of the venue. And secondly “Viewers” – allowing guests to view unique elements / surroundings and have interactive experiences.

One of the well know uses of interactive props has been seen at “Wizarding World of Harry Potter”. The Universal theme park land has incorporated ‘Interactive Wands’, guests able to acquire special RFID enabled wands that when waved at particular areas of the land, their interaction can trigger physical show set elements.

Guests in Diagon Alley trying out the spell-casting skills with their interactive wand. (Source: Orlando Informer)

A concept that can also be traced back to the Great Wolf Lodge venues in North America, that incorporated the MagiQuest experience, with unique tracked wands correct movement unlocking digital and physical puzzles, competing with digital characters located throughout the experience.

Most recently we have seen the wireless interactive prop married to dark ride, with the ‘Smurf Ride’ at Comics Station in Belgium. The dark ride experience has riders wielding magic wands with their movements interacting with the ride experience while collecting points.  

Guests using their magical wand to interact with the attraction. (Source: AlterFace Projects)

Walt Disney has a long track record of experimenting with the use of location-specific interactive elements. Both in the queue line, and special “scavenger hunt” style experiences, at various resorts. One of the trailblazers of this was the ‘Kim Possible World Showcase Adventure’ – that utilized a smart device acting as the “prop”, used to supply information and help crack puzzles to collect rewards. The system was ahead of its time in comparison to what would be seen later with the Pokémon Go smartphone app.

Recently a new smartphone app allows guests to interact with unique elements of the queue line and other show sets, collecting special points and badges through cracking puzzles. This was deployed at the ‘Star Wars: Galaxy’s Edge’ land in Orlando and California, distributed through the Play Disney, Star Wars: Datapad, on the park app. 

Unlocking the secrets at Star Wars: Galaxy’s Edge via their Datapad app (Source: Walt Disney)

Building off much of these approaches, and some six years of development, one of the most ambitious AR projects is to be launched, looking at a new generation of audience.

Universal Studios Japan is about to throw open its doors to the new land called Super Nintendo World. Developed in partnership with Nintendo, a loving imagining, physically re-creating the video game world. Scheduled now for a February 2021 opening the venue has embraced a strong interactive element, with guests able to gather coins, badges and find secrets through the space, via their wearable “Power Up Band” prop that also links into a paired smartphone app.

The Nintendo Power Up Band paired with the smartphone app to collect coins (Source: NintendoObserver)

But it has been the recent leaks that have generated much excitement, regarding the deployment of new MR technology throughout the park, offering a high level of guest engagement. Recently the veil was lifted on one of the two major attraction of the venue. Mario Kart: Koopa’s Challenge has guests competing while on a tracked dark ride attraction. Buttons used in the ride vehicle, synced to physical and virtual effects of the attraction – elements seen by the player through special AR headsets, worn throughout the ride.

The unique AR headset that will be used on Mario Kart: Koopa’s Challenge
(Source: Universal Studios)

This will be the first dedicated use of AR headsets in a theme park attraction, building off advancements in visual displays and optics. The manufacturers of the headsets to be used on this attraction is still secret. The players will be able to compete with groups of riders on other tracks riding in competition, virtually launching Koopa shells and collecting coins. A new level of gamification being added to a dark ride attraction.

The interactive ride vehicle used on Mario Kart: Koopa’s Challenge
(Source: Universal Studios)

Another less publicised AR component of the venue is the use of “AR Viewers” – digital binoculars mounted round the land that superimpose animated effects and characters onto the real-world visuals. Using these viewers, the guests will also be able to interact with the digital characters using mounted buttons, continuing their hunt for coins, badges, and secrets.  Super Nintendo World is not just planned for Japan, with Universal Studio properties such as Orlando and California getting their own version eventually. What is being described as one of the “most interactive theme parks ever!

Artist interpretation of the ‘AR Viewers’ being deployed, taken from the Universal Studios patent filings (Source Theme Park Stop)

Wider interest in MR deployment, especially AR headsets is expected to see consumer resurgence beyond current smartphone applications. With both Apple and Facebook rumoured to be about to launch ground-breaking consumer AR systems in a matter of months – while the Nreal Light headset saw much fanfare for its launch this year. The commercial design and training sectors have benefited from the launches of the Microsoft Hololens 2, as well as the launch of the Lynx-R1.

The out-of-home entertainment sector will benefit from the advancements achieved from AR consumer development, as was seen from consumer VR. And we can expect to hear announcements of other theme park developers launching their own new AR-based attractions to stay competitive.

Source: https://www.vrfocus.com/2020/12/mixed-reality-revolution-out-of-home/

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The €699, 180Hz Pimax 5K SUPER is Now Available

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While companies like Facebook are consolidating their virtual reality (VR) ambitions into a singular headset, Pimax is going in the opposite direction. This week the company announced the launch of its Pimax 5K SUPER, filling in the mid-range of its headset catalogue.

The Pimax 5K SUPER was initially revealed during CES 2020 in January in prototype form, as part of a six headset range. But the 5K SUPER is in fact a refreshed version of the Pimax 5K Plus from 2018. Just like its forebear, the new headset will feature dual 2560 x 1440 LCD panels, a diagonal 200-degree field of view (FoV) and full SteamVR 1.0 and 2.0 tracking support.

Pimax has, of course, added new features to ensure this is a proper upgrade. These include a standard 160Hz refresh rate as well as an experimental 180Hz refresh rate for buttery-smooth gaming – alongside 64/72/90 & 120 Hz modes. Customers will also gain a Modular Audio Strap (MAS) for improved comfort and ease of use and Pimax’s comfort kit face cowling for those longer play sessions.

Additionally, like all new headsets, the Pimax 5K SUPER will come with Pimax VR Experience software which aids first time setup and can optimise all VR settings.

The Pimax 5K SUPER retails for €699 EUR just for the headset, so that’s all you’ll need if you have a previous SteamVR setup. For those after the entire kit including two SteamVR 2.0 base stations and Index Controllers, the kit will set you back €1,202.00. That’s a tidy sum considering the cheaper price of the Valve Index, even if it doesn’t have quite the same specs.

In the Pimax range the Artisan kicks things off at €449 and the 5K PLUS is still available for €559. Then at the top of the pile are the two Vision 8K headsets, the Plus (€869) and X (€1,199.00) if you’re look for the best resolution.

As Pimax continues to expand and enhance its range, VRFocus will keep you updated.

Source: https://www.vrfocus.com/2020/12/the-e699-180hz-pimax-5k-super-is-now-available/

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