ALTERNATIVE REALITY - FINALLY A MONEY SPINNER?

History

Virtual Reality (VR): A description that will have a number of the operators perusing this article running for the hills, or to start grinding their teeth involuntarily. Predating the 'dot.com' boom-to-bust phase, there was VR!

The technology's fortunes proved a roller coaster ride following much hype and promises about the technologies capabilities to achieve wonders, including the ability to interact with virtual environments 'better than life!'

Bolstered by the hit film 'The Lawnmower Man' based acrimoniously on a Stephen King concept, the entertainment application of this high technology vision appeared on the amusement sector in the early Nineties, hitting the main stream thanks to British base pioneer Virtuality (originally known as W.Industries).

The company developed their 1000SD and 1000SU systems, which was personified by bulky head mounted displays (HMD) that supplied the image of the virtual world to the player, while he took part in a variety of VR game scenarios. The actual machines hardware took hold of the player imagination more due to the novelty of the system than the actual gaming experience.

The technology offered such high hopes that even the mainstream amusement manufactures attempted to develop the concept. Sega Enterprises signed a joint venture with Virtuality to create the Electrobrain system, which finally appeared in 1994, the sparse number of systems actually manufactured proved less than enthralling.

Then amusement operator Edison Brothers, and their promotional division Horizon Entertainment licensed Virtuality's pioneering hardware for their operation. After attempting to brand the temperamental Virtuality fledgling units in the States, Horizon started to develop their own bespoke VR attractions such as the Virtual Voyage system, used for a successful liquor company promotional tour.

Other American companies attempted to run with the concept of VR for amusement application. However the early forays proved more technology experiments, rather than viable going concerns.

Alternate Worlds Technology, in 1993 (later to become VRE), and their Reality Rocket unit, made a number of prominent inroads in VR sales, before falling by the wayside. But the most flamboyant, and over hyped, concept was that by Visions of Reality. Using millions of investors Dollars the company proposed a futuristic multiple pod VR experience under the Fantasy Transporter name.

The concept supplied no prototypes and no tangible reason for the expenditure of vast amounts of investor's money. This grand failure acted as the catalyst that burst the VR bubble, interest in the technology crumbled.

In turning their back on VR the amusement and attractions industry made it clear that though the actual hardware offered great potential more tangible evidence of its earning potential was needed before anyone would take VR seriously again.

In this transitional period, many of the early vendors and developers of the hardware and software for VR Entertainment vanished. Either attempting to jump on the next amusement technology bandwagon or totally evaporating from the scene.

But not everyone disappeared.

The Technology Behind the Concept

VR Entertainment has been dependent on a number of key technologies. The first is the Head Mounted Display (HMD). As previously stated these contraptions proved bulky and ungainly in the beginning, in many cases being too heavy for the younger players to actually wear. But as with all things in this age of technologic marvels the progress of time has allowed miracles to be created. The once vast motorbike helmet sized units have been shrunk down to a very manageable goggles size. Development in liquid crystal displays, creating lightweight and visually impressive replacements, to their ungainly ancestors.

The second important factor in VRE was the illusion of the player presence in a virtual environment. The limitations of 3D computer image generation in 1994 were at an evolutionary stage, now in 2002 the ability to render breathtakingly realistic virtual environments is commonplace. Even the latest home console system can render an image that would have been unthinkable just three years previously.

With the ability to 'immerse' a player within a virtual environment, comes the need for the creation of attractive and enjoyable activities to undertake within the virtual world. Normal video game activities become difficult to experience within VR for amusement, the limitations of time and the shear complexity seemed to overcomplicate the experience, also the one or two player gaming environment synonymous with video games seemed too restrictive for what VR promised.

The clamber from the industry is for Mass Audience Entertainment (MAE) attractions, that pull through large amounts of foot traffic into their facility, entertains and acts as a centre piece attraction, attracting, entertainment and offering a strong 'Through Put' (a theme park term referring to the ability for a large number of guests to be passed through the attraction).

The need by the operators for the ability to collect a compelling experience with mass appeal into a package suitable for amusement adaptation seemed not to have progressed in the video games sector. Traits more familiar in the creation of corporate entertainment, exhibition and theme park expertise needed to be called into play, and so the VRE market evolved.

Who are the new Players

Now in 2002 and VRE is a totally different animal. Gone the 'nerdy' technologists and the hype of what 'might' be achieved - now the market actually exists and the hardware is actually resident in a number of locations. The new dawn of VRE is upon us, at a time when video amusement and attractions desperately needs something fresh and new.

The market has clearly been broken into two camps following the collapse and then rebirth of VRE interests.

System Description - Direct Individual Arcade Experiences

These can be best described as developers of VR systems that offer the familiar arcade experience, but using the latest VR technology to present the medium. One of the best known in this arena is GlobalVR, and their Vortek VR platform.

The Vortek has been a main stay of the re-insurgence of video amusement VR and has proven a reliable workhorse. The ability to incorporate new software packages, converted from the consumer sector has been instrumental, and the recent success with the 'Beach Head' software series has cemented interest in the application of this hardware.

From the wreckage of the collapse of Virtuality, following the fall of VR popularity, creditors sold a number of the properties of the operation. The VR gaming platforms were passed on to a UK company called Cybermind, the company's 2000SU series taking the Virtuality concept and adapting updated hardware and software practises. Cybermind UK had established contacts with GlobalVR in previous years, but has once again become an independent provider of this hardware.

One newcomer to the VR revolution is Illusion Systems Inc. The company developed in the late 90's the DropZone VR parachute simulator. An amazing piece of technology, part ride, part video game, players suspended from a harness contraption that simulated the drop and fall of parachuting while a VR HMD represented the hurtling landscape, the player having to attempt to steer his parachute onto the designated drop zone. The system found favour with large facilities seen as an attraction needed to get player interest to spend longer in their sites.

At the same time operators were considering the need for 'through put' to define their judgement on virtual entertainment systems. Not just one off arcade cabinets with a VR component but an actual attraction, or groups of systems. Operators saw that running 4 DropZone systems would generate a 20 player per hour revenue stream, with increased presence came increased traffic and revenue.

Another company to see the benefit of multiple installations in Atlantis Cyberspace Inc., and their The Abyss system. The 4 booth attraction offers the player a chance to venture into the VR environment using the Abyss Operation System, and play in a Quake-esq, gaming environment (Quake being a popular consumer first-person gun game, players able to run around blasting various opponents). With the Atlantis system the other opponents seen in the virtual environment are fellow players, the whole system building on the first-person shooter fascination with PC players in their homes.

System Description - Community Entertainment Experiences

The need however is for attractions and large player 'through put', the ability to entertain the largest number of participants at the same time. These requirements have lead to the development of the 'theatre' concept in the application of VRE.

Large numbers of guests placed in a virtual environment and thrilled together is the goal. At the moment the application is divided between those that use the VR element as a 'passive' (non interactive) component, like placing a big screen all around the viewer and dropping them into the movie. Or the more interesting opportunity of both surrounding, but also having the player participate, in the experience.

Ferris VR, and their VR Sensory Theatre sit in the 'Passive' camp, though the technology includes advance systems such as the inclusion of olfactory stimulus for the guests to smell their experience, the guests are basically viewers on the environment. Available in three seat multiples, the popularity of this approach for promotional work has seen Ferris produce a mobile version of their system as a promotional tool. A recent merger with GameCom hopes to see other components of Ferris' VR experience released into the sector.

Another developer of the passive theatre system is StrayLight, their 3D Virtual Theater seats 26 guests and again offers a non-interactive 3D visual experience. The company has also developed the more conventional VR game platform in the shape of the 3D-XTC, which also allows for interactive promotional applications.

But when speaking of VR in the promotion and entertainment sector, one name has become synonymous with the application.

Strangely named Ham On Rye Technologies comes from an interesting background. The early VR pioneers at Horizon Entertainment continued to experiment with the technology long after the bubble burst in VR investment. Feeling strongly that VR did offer a brand new opportunity, the company sharpened their skills. Over the years a great wealth of experience in the application of VR for corporate events has been amassed and the skill needed to entertainment and inform the most sceptical of guests.

This experience was turned in 2000 to the development of an entertainment version of their promotion hardware. Not only was VR a major component for this theatre based system, but also 'interactivity' on two levels was seen as vital, not just a 3D film show but a total virtual experience.

So was born the VR Performance Theater, the 20 seat system offers a 120 per hour through put that was deemed essential for the various large and medium sized venues. The actual experience has a live performer (a real person) hosting the virtual experience from inside the virtual world, the players actually able to interact with the game (undertaking tasks to progress though the experience) via intuitive activities such as voice and physical input with each other and the live performer. The 5 to 7 minute game takes all the best of live performance, mixed with a tailor made virtual experience and interactivity for the players to really enjoy the experience. The laughing faces on those playing acting as an additional draw to those wanting to try out the experience.

The VR Performance Theatre is the next step in taking VR to the masses and seeing a return profitable. In operation at Six Flags and Paramount Parks last year proved such a healthy return that they brought nine theatres in addition to those that they had originally installed for evaluation. Published report show a average return on the VR Performance Theatre of 120 operating days, and with this years sales they will move their installed base to 21 theatres. And currently the first theatre in Europe, at The Tussauds Group Chessington World of Adventure Park, is out performing systems in the best parks in the US.

It is the originality of this live (never the same twice) experience that places the VR Theatre well beyond the dangers of encroachment from advances in the home game sector that more conventional VR experiences face. The ability to inject a live host into the experience and also have the players compete and interact with each other ground breaking in their application.

A growing success story with kudos showered on the company since it started to publicize their system at recent trade events, has proven that they have hit the nail on the head regarding how best to bring the possibilities of VRE to the hungry amusement and attractions based market.

Conclusion

After a baptism of fire, it has taken a lot for VR to be re-admitted for consideration in the amusement market. The need to prove important features such as profitability, and public appeal are major hurdles. Surprisingly in the vacuum away from the 'hype' the technology has actually come into its own, while at the same time the amusement industry has taken a pounding from a doubt in its conventional entertainment medium.

The ability to place a large 'through put', cost effective, but all importantly 'FUN' attraction in front of the player has allowed VR to re-establish itself in a market hungry for the next big draw. With GlobalVR and Ham on Rye, leading the way in their respective sectors, of profitable and successful VR attractions. It is clear that the operators in this industry will have to look again at what this technology has to offer.

(First published in the May 2002 issue of Play Meter Magazine)

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