VR and the dramatic theatre: are they fellow creatures?

This paper describes an experimental project that aims to investigate the scope of methodological and technical possibilities of using 360° videos for experiencing authored drama. In particular, it examines how a work written for the medium of theatre, with a traditional audience-drama relationship of viewer invisibility and non-participation, might translate into a viewing experience as a VR drama. The technical and dramaturgical issues arising from this are discussed. Specifically, the shared voyeuristic quality of both media is examined. Is the invisible viewer of VR drama in the invidious role of Glaucon’s iniquitous shepherd Gyges, or does the medium give invisibility a cloak of aesthetic value

A desire for immersion: the panorama to the Oculus Rift

The paper argues that the experience of viewing 360° historical scenes, either within the "real" environment of the panorama or contemporary "virtual" environments, arises in part from the attraction of the affecting experience. Tracing a line from ancient Greece and Rome through to contemporary technological innovations in Virtual Reality, we explore an idea that what links all of these experiences is not solely a response to social, political or historical streams but a manifestation of a pan-historical human desire for the Dionysiac. Using texts by theorists as diverse as Nietzsche, Baudrillard, Rheingold, Gibson and Shaviro, we suggest that the impetus for viewing historical scenes within 360° environments is at least partly involved in wanting to go beyond spectatorship and intellectual curiousity, towards presence and intoxication. Attempts to tease out the ideological content of an immersive experience must be done in the context of the craving of audience members for the sensual, the sensational, the being present, and other "illegitimate" forms of impetus to view and experiences. These always already exist alongside and perhaps even before the more legitimate goals of gaining knowledge, historical perspective, education and information. Charlton and Moar explore the idea that this desire for immersion impels us to submerge ourselves in historical scenes. Thus immersion is the link between panoramas and new panoramic experiences afforded by new technologies such as the Oculus Rift

UX evaluation of VR locomotion & virtual object interaction mechanics

Virtual Reality (VR) Interactions like in Ready Player One? Locomotion (LOC) and Virtual Object Interaction (VOI) are two key areas of concern, when designing and developing VR games and other VR applications. This paper describes a study of three interaction modes and their underlying VOI and LOC mechanics, using a range of consumer-oriented VR input setups, spanning from gamepad, over Spatially Tracked Hand Controllers, to Controllerless Hand Tracking and Omnidirectional Treadmill. All corresponding mechanics were implemented in the specifically developed, optimized and polished “real-world” game Gooze, to test them in a real-world scenario with corresponding challenges in gaming and human computer interaction. A within-subjects experiment with 89 participants using qualitative and quantitative analysis methods was conducted. The interaction modes and their mechanics were evaluated based on the four User Experience aspects: Player Enjoyment, Support of Gameplay, Simulator Sickness and Presence, with the latter being subdivided into the four sub-parameters: General Presence, Spatial Presence, Involvement and Experienced Realism, according to the igroup Presence Questionnaire. The paper concludes with summarizing the individual advantages and disadvantages of the assessed interaction modes

“VRification”: applying virtual reality to digital games

In the following, we discuss the process of applying virtual reality to digital games. We named this process “VRification” and will elaborate on some of its opportunities and issues. Based on a literature survey and professional practice, this work covers several examples of VR games, which were intended as such from the beginning (Job Simulator and Lucky’s Tale) and others, which were ported to VR after their initial release (DOOM VR and LizzE). We conclude that, for VR games, it is essential to be optimized for the full potential of targeted interface technologies. Furthermore, porting former-non-VR games to VR can create successful user experiences, when aiming for the same high standard of optimization, especially regarding simulator sickness

Virtual Reality 3rd person camera behavior modes

We describe and evaluate five different level design independent modes of handling camera behavior in the 3rd person game LizzE – And the Light of Dreams in Virtual Reality. The behavior of the different modes will each be illustrated in detail. To evaluate the modes A: Fast circling, B: Lazy Circling, C: No Circling, D: Blink circling and E: Buffered pulling, an experimental study with 33 subjects was conducted. An analysis of the resulting data will show why Buffered pulling seems to be the most promising of the examined modes. We elaborate on the quantitative and qualitative hybrid experiment design and methodology. Eventually the advantages and disadvantages of the five tested modes are discussed in terms of supporting the gameplay, player enjoyment, in game performance and the tendency to induce nausea

Local multiplayer immersion affected by 3D stereoscopy

In this paper, we describe an experimental study, which evaluates how 3D stereoscopy affects player immersion in a possibly very distracting local multiplayer game. The game “Nicely Dicely” was specifically developed for this purpose, with 3D stereoscopy in mind, right from the beginning. Groups of participants were competitively playing the game in non-3D monoscopic and 3D stereoscopic presentations via a 3D compatible projector and corresponding active shutter glasses. In the following, we elaborate on the game and our quantitative and qualitative hybrid experiment design and methodology. An analysis of the resulting data will show that, indeed 3D stereoscopy significantly increases spatial presence, involvement and player immersion, even in a local multiplayer situation. Furthermore, some guiding insights relating the game’s design will be illustrated

Lower levels of damaged protein biomarkers in the plasma of overweight type 2 diabetic men following supplementation with a standardised bilberry extract

Peer reviewedPublisher PD

An experiment design: investigating VR locomotion & virtual object interaction mechanics

In this paper, we describe an experiment outline on investigating design and user experience related aspects of several virtual reality locomotion and virtual object interaction mechanics. These mechanics will be based on consumer hardware like a common game controllers, an infrared hand and finger tracking device, VR hand controllers and an omnidirectional treadmill. Corresponding related work will contextualize and motivate this research. The projected experimental study will be based on user test sessions with a specifically developed 1st person VR puzzle horror game, called Gooze. A hybrid approach of self-assessment, in-game parameter tracking and session observations will be proposed for the investigation. Statistical analysis methods will be suggested to evaluate results. Furthermore, this paper will give an overview of the game and elaborate on design, gameplay and user experience related insights of already conducted informal pre-studies with it

Moving tales, exploring narrative strategies for scalable locative audio drama.

This paper reports on a recent collaboration between the Lansdown Centre for Electronic Arts at Middlesex University and the BBC Radio Drama Department, which was designed to investigate the narrative possibilities of locative media in a drama context. The locative drama Scratch is the first outcome of an ongoing research project, Locating Drama, whose aim is to investigate and develop narrative strategies that take full advantage of the current generation of GPS enabled portable computing devices for audio drama. In particular, we are exploring content and modes of interaction, which, while based on location awareness are not in any way site-specific allowing users to experience the drama in a location of their choice. We will refer to this approach as translocational as it allows the translation of locative media experiences to a wide variety of spaces. The translocational approach is of particular interest to broadcasters as it is more scalable than a site-specific paradigm, opening the possibility of downloadable location-aware podcasts featuring professionally authored content for a wide audience