Eric-JanszenVR on exercise bikes like VirZOOM is going to be AMAZING… for some people, and I may not be one of those people. Movement within virtual environments is a hard problem, and while VirZOOM addresses some of the challenges of VR locomotion, people who are sensitive to simulator sickness will likely still have issues with some of the games developed by VirZOOM.

I was pleasantly surprised to find that the physical action of moving my legs was enough activity to trick my mind into making some types of VR locomotion a more comfortable experience. However, there were still a number of other game design decisions that triggered motion sickness in me including tilting the horizon line, lots of vection and optical flow, accelerating and decelerating, and moving up and down hills.

I had a chance to up with founder Eric Janszen at GDC after going through their different game prototype demos to hear more about their design intention, how they were integrating interval training within their gameplay design, and some of their future plans of integrating more mobile VR headsets.

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While I don’t think that VirZOOM can claim to have completely solved the VR locomotion problem, I was pleased to see that some VR locomotion schemes were indeed more comfortable than using a Xbox controller alone. Flying through the air on a Pegasus was one of the most comfortable experiences because there wasn’t a lot of optical flow. I believe that I did feel some improvements from being able to peddle, and I think that there’s more that can done from a VR design perspective to make it a more comfortable experience. I’ll be covering more of those specifics in an upcoming interview with Jason Jerald about motion sickness research and VR design principles to minimize it.

But it’s also possible that VR enthusiasts will have to self select into two different groups: those who can enjoy experiences with intense movement, and those who can’t.

Eric Janszen says that if you get motion sickness while reading in a car, then there’s a good chance that you’ll be susceptible to motion sickness in VR. He’s also sick of hearing about VR sickness as evidenced by a recent tweet to an article by Jon Peddie titled “I’m sick of hearing about VR sickness.”

Peddie argues that VR designers shouldn’t worry about compromising their designs in order to accommodate what may end up being a minority of people who experience simulator sickness. He says:

So now our current anxiety is all about VR sickness. VR will never succeed because it makes people sick. Really. I guess air travel, roller-coasters, and sailboats will never catch on, either, because they make people sick.

The point is that there is a distribution. Some percentage of the population can’t see 3D or color, gets fatigued by low refresh rates, has weak carpals, and gets motion sickness. Some, not everyone, just a small percentage.

Motion sickness can in some people be overcome, and so can VR sickness.

This is a big reason why Oculus implemented Comfort Ratings as a part of titles sold through Oculus Home so that users susceptible to simulator sickness could make an informed decision about what titles they would be able to enjoy. I’m not convinced that everyone will be able to overcome simulator sickness through brute force repetitions, and I don’t think that we should expect that people should have to suffer through developing their VR “sea legs” (if they even really exist for some people).

Because VR is in it’s early development stages, then Oculus has been super cautious about promoting too many VR experiences that they know will make a number of different people sick. At E3 this year, there was a lot of negative press about AAA games like Resident Evil 7 for the Sony PlayStation VR that were making people sick.

Some of these specific issues can be solved with good VR design, but there’s also a wide spectrum of different VR locomotion solutions. Some people will find all of the locomotion solutions comfortable, but some other people will find only some of them comfortable. I imagine a time in the future where these different VR locomotion options will be pretty standardized, and we’ll get to pick whatever system that works best for us.

Teleporting around can break presence, and it often becomes a quick cheat that discourages physical movement within a VR scene. In the end, teleportation kills your sense of place in part because it disrupts our sense of how much time should pass when moving from one point to another. There are ways to restore that by watching an out-of-body ghost walk towards your teleport waypoint to let that time pass, but it’s still not the same as the feeling you get when you’re actually moving around within an environment. So there are clear tradeoffs between immersion and comfort when looking at different VR locomotion schemes.

But overall, I think that VirZOOM is clearly going to be a popular incentive and motivator for some people to get more exercise. The blending of gameplay with interval training is something that makes a lot of sense, and there’s may ways to explore how to blend these two together. Aside from gaming, the feeling of exploration and taking virtual rides through the equivalent a fully immersive Google Streetview or Google Earth VR is what gets me the most excited about using VR to combine exercise with virtual tourism. I just hope that someone will figure out how to design the experience so that I don’t get sick doing it.

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Victoria-Interrante2Academic VR researchers have shown that “people typically underestimate egocentric distances in immersive virtual environments,” sometimes up to 20%. This could have huge implications for architectural visualizations, but also for anyone making aesthetic judgments based upon the proportion and scale represented within a virtual environment. I had a chance to catch up with University of Minnesota professor Victoria Interrante at the IEEE VR conference to talk about her 12 years of research into some of these perceptual and cognitive effects within virtual environments. We talk about some of the causes, the role of embodiment in distance estimation, photorealistic vs stylized environments, and the impact of having virtual humans within the environment.

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eva-hoerth2Eva Hoerth is a VR design researcher & community organizer, and she enjoys recording videos of people as they’re immersed within a VR experience. She shot a video of of her co-worker in VR trying out the latest Leap Motion Orion update, and tweeted it out saying “This is the future.” It went viral with over 5000 retweets, 5 million views on Imgur, it hit the front-page of Reddit, and amassed nearly half a million views on YouTube.

It struck a chord and tapped into the public’s perception of VR, and some of the fears of social isolation that is a common perception of where VR technology is going. Eva wrote up an essay of these reactions on Medium titled “I love VR but hundreds of thousands of people think I hate it.”

I had a chance to catch up with Eva at the VR Hackathon before GDC to talk about some of these reactions, being a woman in VR, and some of her community organizing efforts to bring women in VR together.

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Here’s the video that Eva shot, as well as her original tweet:

source: https://youtu.be/Ogji3nSvPjg

Eva does love VR, loves people watching, and is highly amused with “how hilarious today’s headsets look.” She “>says, “Today, we are literally this guy. Except imagine that chunky phone strapped to our eyeballs”

I think that there are a couple of other things that Eva’s viral video taps into. One is the fear that VR will transform our society into an anti-social dystopia, and the other one is that it’s weird and awkward to block out eye contact while you’re around other people in a social situation. Robert Scoble told me that part of the negative reactions to the Google Glass was that it broke eye contact while talking to people, and that this violated our social contracts and cultural norms.

I think that this breaking of eye contact can help explain why some of these other images of people using VR in public received such a strong reaction.

This image of man in VR outside of a restaurant was shared to reddit’s /r/pics on January 28, 2015, just a month after the Gear VR Innovator Edition was first released.

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Then on June 11, 2015, Zach Lieberman posted a picture of game developer Dimitri Lozovoy playing a VR game on the NYC subway.

Here’s a video of Dimitri playing VR in public:

This was written up by Gothamist and Gizmodo, with comments about how absurd VR looks and marveling at how “the person we were gawking at couldn’t even see or hear us. So we all had complete license to stare, and boy did we ever.”

On February 21, 2016, just a couple of days after Eva’s video went viral, Mark Zuckerberg attended Samsung’s Unpacked event and entered the room while the entire audience was immersed within a VR experience. Here’s the image that Mark posted to his Facebook account:

This image generated a lot of visceral reactions ranging from the Washington Post calling it “creepy” to the Verge saying,

The picture trips all of our “horrible cyberpunk future” alarms, carefully put in place by everything from The Matrix to Noam Chomsky’s Manufacturing Consent. The former uses evil squid-bodied robots, the latter privileged human elites, but both works see humanity too distracted and preoccupied — by a full-scale replica of late-90s reality, or just sports on TV — to even be aware of the actions of those in charge. Zuckerberg’s picture acts this out: MWC attendees plugged into Samsung’s Gear VR headset literally can’t see the Facebook boss as he breezes past them.

I think Robert Scoble is right. The Google Glass violates the unspoken social contract of eye contact, and wearing VR in public triggers a similar social taboo of not being aware of the other people around you. This image of billionaire Zuckerberg evokes even more connections to a dystopian sci-fi visions where the masses are unwittingly being controlled, but overall I think that part of what makes this image feel “creepy” is that the people aren’t fully aware of what’s happening “outside of the matrix” in the real world. Having a powerful celebrity walk by you can be a memorable event, and these people in the photo are completely unaware of it.

I do think that VR, and especially mobile VR, will face some cultural barriers in being used in social situations. Samsung attempts to normalize the use of VR in public with this ad showing a woman using VR on a bus:

Will people start to use VR more in public situations? Or will the chilling effects of public shaming or the feeling of vulnerability be too great? Or will people be more likely to use AR in public since they’ll have more situational awareness of their environment.

I think it’s worth reflecting on these viral images and videos of people using VR in social situations, listening to the public’s reaction, and being aware of how these reactions continue to change and evolve as more and more people have their own personal experiences with VR.

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george-andreasSony’s The London Heist is one of the best fusions of narrative VR storytelling with interactive game components. It’s structured as a flashback sequence starting with you being confronted within an interrogation room, and there are branching narratives that flavor the timing of the plot points and can be triggered by whether or not you’re paying attention to the main character. The flashback action sequences serve to transport you into having an embodied presence, and it’s the closest experience I’ve felt that was suddenly living within an action film, car chase.

I had a chance to talk to George Andreas, the Creative Director of Sony’s PlayStation VR Worlds, at GDC 2016 where we talked about the narrative experiments, lessons learned, as well as the four other bespoke experiences ranging from an underwater experience, a space adventure, street luge racing game, and the futuristic competitive sporting game of Danger Ball. All of these experiences will be exclusively shipping with the PlayStation VR, and so I take the opportunity to make some comments and reflections about the ongoing debate about the exclusive vs. cross-platform & closed vs. open content ecosystems.

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Here’s the Announcement Trailer for PlayStation VR Worlds that premiered at GDC 2016:

For more context about exclusive content trends on streaming video, then be sure to check out Mark Suster’s Snapstorm presentation on Online Video part 2.

For more context about how open standards usually thrive off of proprietary competition, then be sure to listen to my 2015 interview with Khronos Group’s Neil Trevett.

And the other interview that I mentioned is with ESA’s Mike Gallagher on how video games are protected by the First Amendment.

Bruce Wright kickstarted a lively debate about VR and PTSD with this provocative Tweet:

For highlights of this long thread, then check out Dora Cheng’s Storyify on VR and PTSD.

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At GDC this year, Sony revealed some of their first experiments into social VR with a four-person demo that was showing at their press event. The avatars looked like South Park characters, and the thumbs up or down gestures using the move controllers would trigger similar emoji-like expressions that were shown to the other avatars in the experience.

I had a chance to catch up with Ellie of Sony’s Online Technology Group to learn more about their iterative design process around discovering a locomotion technique that was comfortable, some of the most surprising and joy-induced social interactions that they discovered, cultivating the sense of shared spectacle, and creating objects that optimize communication between players. I also share some of my own memories and reflections of the experience as well, and it’s some positive signs that Sony is both exploring and innovating in the social VR space.

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Here’s an audience member’s recording of the same social VR demo that I experience at GDC. This was presented during a VRDC session:

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george-dolbierMachine Learning is going to revolutionize so many different aspects of our lives, and it’s starting to enter into game development with IBM’s Watson. Developers can integrate cloud-based AI services into their game to dynamically change the game design progression curve based upon a user’s behavior and performance. If the player is zipping through a series of easy puzzles with no problems, then Watson could detect that and more quickly progress the player to advanced levels in order to keep the game challenging and interesting for them.

I was able to get a sampling of how a number of different innovative game designers have started to integrate machine learning resources last week
at an Intel Buzz Workshop presentation by IBM’s Interactive Media CTO George Dolbier. He showed off some code sample of how to integrate Watson with Unity with IBM’s Watson Developer Cloud API and gave a number of different use cases for how to integrate machine learning into VR experiences.

I caught up with George to talk where machine learning networks can add value, the future of interactive narratives with AI chatbots, and conversational commerce and the future of conversational interfaces in the Experiential Age. Ars Technica recently premiered a sci-fi short film that was written by a recurrent neural network, and George and I also talk about how AI systems like Watson have the potential to empower humans to do more of what humans do best with our imagination and creativity.

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watson
Here’s some of the Unity code that calls the Tradeoff Analytics API as a part of the Watson Developer Cloud.

Here’s a brief marketing video about the Watson Tradeoff Analytics feature that George talks about in the podcast:

I curated a Twitter list of over 100 AI & machine learning experts, and I’ll be tweeting more about AI on a new Twitter account at @VoicesofAI

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ryan-holmesAstronaut Edgar Mitchell was the sixth man to walk on the moon, and upon his return to earth he had a profound mystical experience. Being able to see the earth from space expanded his worldview about human’s role on the planet and the nature of human consciousness. Other astronauts also reported being profoundly affected by seeing the earth from a third-person perspective in space, and Frank White coined this phenomena as the Overview Effect. It’s described as “a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.”

Ryan Holmes was so inspired by this vision of the Overview Effect that he wanted to see if it’d be possible to recreate it for everyone through the power of virtual reality. After a number of different iterations, SpaceVR announced at SVVR Conference and Expo that they have raised a $1.25 million seed financing round led by Shanda Group with participation from Skywood Capital.

I had a chance to catch up with Ryan at SVVR to talk about SpaceVR’s plans to eventually bring live VR feeds from space, the logistics of launching a satellite with VR cameras, and some of the educational and experiential offerings that they plan on providing in the future. Today’s podcast also features an interview with astronaut Edgar Mitchell that I conducted in 2009 at the Institute of Noetic Sciences conference, which is the frontier science research institute that he founded in 1973 to study the anomaly of consciousness.

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Here’s the brief Overview documentary about the Overview Effect that inspired Ryan to start SpaceVR.

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jenn-duongJenn Duong is the Director of VR at 1215creative as well as the co-founder of “SH//FT,” which stands for “Shaping Holistic Inclusion in Future Technology.” SH//FT has been partnering with VR companies who plan on supporting diversity and inclusion initiatives within emerging technology by giving out scholarships & grants, supporting education, and cultivating community.

I had a chance to catch up with Jenn at the Rothenberg Ventures Founder Field Day where we talked about the importance of diversity, some of SH//FT’s specific plans to creating equal opportunity for everyone within VR, and Jenn’s career path from entry-level VR position to becoming a Director of VR within the last year.

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tipatatTipatat Chennavasin is a general partner at The VR Fund, which is an early stage VC fund focusing exclusively on virtual reality and augmented reality start-ups. One of the services that Tipatat does for the community is maintain a VR Industry Landscape infographic that creates a taxonomy for the different VR industry verticals as well as where they fit in within the technology stack as being either a part of the underlying infrastructure, a tool or platform, or on the application layer with specific content. He also maintains a much more detailed Trello Board of the Virtual Reality Industry.

I had a chance to catch up with Tipatat at the Experiential Technology and Neurogaming Conference where we talked about the VR landscape, the current state of augmented reality, how he sees artificial intelligence and computer vision technology playing a role in VR, what’s happening with VR in China, and what he’s learned from doing a daily 3D painting in TiltBrush

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Here’s a copy of The VR Fund’s 2016 VR Industry Landscape from June 2016 (version 1.6). Click through to The VR Fund’s site to see the full size version:
vrf_vr_industry_june_sm-1024x832

Here’s a link to one of Tipatat’s daily Tiltbrush paintings mentioned within the podacast that makes a political statement about what’s inside of Donald Trump’s head

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Azad-BalabanianAzad Balabanian is the co-host of the ResearchVR podcast where he discusses the latest cognitive science research that applies to virtual reality with fellow cognitive scientists Petr Legkov and Krzysztof Izdebski. The premise of their work in VR is that the more that we understand about how humans work, then the better VR experiences that we’ll be able to create.

The ResearchVR podcast has covered topics ranging from time perception in VR, VR and memory, to Presence in VR. I had a chance to catch up with Azad at SVVR where we discussed what cognitive science can teach VR user experience design, the connection between memory and perception, privacy in VR, biohacking for sensory augmentation, neuroplasticity, and how VR can be applied to doing cognitive science research.

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