Guest Blog: Hosting a VR Gamejam

Earlier this month, we hosted a 24hr Oculus Touch VR Hackathon at The Old Market Theatre in Hove, UK as part of their #TOMTech series of events that run over the course of the month-long September “Brighton Digital Festival”.

The lucky winners clutching their prizes, with judges from Unity & VR Focus

The purpose of holding the event was to allow access to unreleased technology that many indie developers interested in Virtual Reality hadn’t been able to get their hands on, as well as expanding knowledge and understanding of VR development as a whole, whilst promoting community and building relationships within the local area.

The overall winners

Attendees came from nearby or far away, with one flying over from Prague specifically for the event as Oculus Rift is not available there yet, let alone the Oculus Touch motion-tracked controllers. Over the course of a day, night and a bit of the following morning, two working minigames were created as a result and the winners judged by representatives of Unity and VR Focus.

We decided to include the two working mini-games into the vrLAB showcase (something we were also co-hosting at the theatre over the following few days) as a reward to the developers.

Runners-up with special recognition for fun factor

In a short period of time, we were able to reach out and gain support direct from Oculus through our existing relationship manager, via the provision of Oculus Rift VR headsets and Oculus Touch controllers for the teams to use. Sponsorship came in the form of last minute saviours AMD providing x5 VR-Ready PCs so that each team had a VR-capable machine to develop / test on.

Food and drink was provided by our other main sponsor Unity, who have a local office in Brighton and love to support the community. Promotion sponsorship was assisted by local organisations Wired Sussex and Brighton Digital Catapult Centre who are co-sponsors of the overall TOMTech events.

Whilst this was our first hackathon / gamejam that we had organised and it was successful overall, there were some key lessons we learned that will share with you now, ready for next time or if you want to host your own. We had reached out to a couple of seasoned gamejam and VR hackathon event organisers in the US, namely Eva Hoerth (@downtohoerth) who provided some excellent advice, which will be included below.

Lessons Learned

1. Hold it on day/s / night/s that are easy for people to attend - due to scheduling of other events around the day we had available, our hackathon had to be held on a Thursday leading into Friday and only ran for 24hrs. Allow more time for more development, more sleep and hold it over a weekend when people are able to not have to juggle work commitments and attend.
2. Charge a nominal fee - whilst free is always best and most attractive, charging a small fee for events organised on Eventbrite helps guarantee signed-up attendee actually appear on the day. Donate the money to a worthy related charity or towards the food / drinks if you do not want to appear to be profiteering.
3. Make sure teams have appropriate hardware to develop on - whilst it is typical that gamejams require devs to bring their own dev hardware i.e. laptops usually, the nature of VR means that a minimum spec VR-Ready PC is needed for efficient development, prototyping and importantly, testing on. Whilst we initially planned on having one or two available for all teams to hop onto, AMD providing a PC for each team was a life-saver.
4. Make sure there is adequate internet access, wired and wifi, so that teams are able to access asset stores, tutorials, necessary software patches and installers that they may not have setup prior to the event (NB. We provided a long list of required tools for the development environment with Unity, Oculus SDKs and links to tutorials etc in the event listing but still, prepare for the unprepared.)
5. Run workshops prior to the main development event itself with experienced developers in the area/s related to the gamejam presenting talks and tutorials - developers of all ranges and abilities will be interested in attending and whilst you can pair novice with expert level devs, it’s best to provide a grounding in the design processes, methodologies and technical aspects of VR development so that everyone can start feeling confident and focused on the long hours ahead. We unfortunately could not arrange this in time but will do for the next one.
6. Ensure that there is enough breakout space for teams to spread out and setup their own design and development area as they wish - we were lucky in that we had the whole main hall of a theatre to use so space wasn’t an issue for us with the number of attendees we had.
7. Ensure that there is enough quiet space for developers to sleep and/or take a break - whilst our hackathon was only 24hrs, devs took off approx’ 5 hrs each on average away from coding to sleep with short breaks between to eat, drink, walk about and stretch their legs. With a longer event with higher number of attendees, this would have to be factored in but from experience, a sleeping bag under a desk or on a sofa is good enough for many. We were fortunate in that the theatre had a host of interconnected rooms for a variety of purposes, from the green room with long sofas and lazy boys, to dressing rooms, bar area, back stage and more. Sleeping in a dressing room made up to reflect The Guardian’s “6x9” 360º film solitary confinement experience was a little un-nerving however.
8. In relation to point 7., as organisers be prepared to have a shift team rotating presence throughout the event or as with ours being 24hrs, be prepared to sleep at the venue too - this ensures that you see what’s going on, can monitor any issues that arise, troubleshoot technically and maintain a sense of connection to the developers working away.
9. Ensure that your event is open to all, inclusive, encourages diversity and everyone of any ability - developers want to create experiences, no matter their background or interests, in a safe, unthreatening environment. Whilst personally haven’t witnessed any issues in this country, advice from abroad was to ensure all genders are made to feel welcome and valued, especially in an industry that typically tends to be male-dominated. Have clear guidelines as to outcomes of unacceptable behaviour.
10. Have fun! Don’t forget the purpose is to create games or interactive experiences that whilst under pressure from the clock, stress around development and organisation can and should be reduced so that everyone has a good

Uniquely mostly for the event we ran in relation to the subsequent VR showcase, remember also that things created quickly aren’t going to be the most stable or bug-free finished products, nor are they necessarily going to be designed for repeated use by the general public at that state of development.

Whilst putting the resulting two finished mini-games into the vrLAB showcase was received very well by all who tried them, bugs and real-world usage resulted in more time than expected having to be spent running the installations and even a couple of Oculus Rifts getting broken. But they had fun, we had fun and we would totally do it all again (in fact we will be in December, watch this
space…)

By Sam Watts

Sam Watts has been involved in interactive, immersive content production for over 15 years, from learning development and simulation to AAA and casual games. Currently employed as Operations Lead for Make REAL and Game Producer for Tammeka, he keeps busy by evangelising the possibilities and real world benefits of immersive technologies like VR and AR to anyone who will listen. Tammeka’s first VR game ‘Radial-G : Racing Revolved’ launched alongside Oculus Rift in March and HTC Vive in April 2016. Make REAL are currently powering the McDonald’s “Follow Our Foodsteps” VR farming experiences at numerous agricultural and countryside shows around the
UK.

Game developers need to accept reality: Virtual reality.

Unlike many of his investors and the analysts who follow his company, I wasn't sent scrambling to consult Star Trek or the Marvel comics to discover why Mark Zuckerberg had swooped for the mysterious sounding Oculus Rift last year – let alone why he thought Facebook should spend $2 billion on it.

The games industry had kept me ahead of the wider technology space. Virtual Reality had been back on our radar for at least 18 months before the Facebook CEO got out his wallet.

Zuckerberg surely suspects that Facebook's flat desktop experience – or even its increasingly dominant mobile fly-by interface – will one day be about as relevant as using smoke signals to ask your hunter-gatherer neighbour to bring over a couple of extra wooly mammoth steaks for the cave bake.

He certainly wasn't about to let some VR incubated social network get a head start. However we choose to swap cat photos and pictures of our lunch in years to come, Zuckerberg is willing to spend billions to be part of it.

Pie in the pixelated sky?

The same should be true of game developers. As I say, we had a jump start on Virtual Reality 2.0.

Yet most I meet are highly sceptical that VR will EVER be how we play games, let along that we'll do it anytime soon.

For instance, Sony was demoing its Project Morpheus headset at the last Develop conference, and plenty of attendees took it out for a spin.

The verdict? Cooler than they expected, but nothing to rival franchises like Far Cry, FIFA, Dragon Age or Grand Theft Auto.

Now, I think they'd be right if they were talking about the next couple of years, though perhaps wrong if they're thinking the next ten.

But many game developers seem to mean… forever!

Let’s get real

This is madness. The future of interactive entertainment is VR. The question is when not if.

All you need to know to make this prediction is Moore's Law.

To jump to the end of the story, ever-increasing processing power means we'll eventually have VR that is practically indistinguishable from our current reality (assuming we escape global warming or nuclear Armageddon on the way, of course.)

Will it take 20 years, 50 years, or 200 years?

Search me, but if I look at the difference between Spacewar from the 1960s or Pong from the 1970s and the sort of games we see on next-gen consoles today, then I'm inclined to bet on brilliant engineering and programming delivering it sooner rather than later.

But anyway the fact is we don't need true reality in a headset (or whatever device VR eventually settles into) for VR games to be sufficiently compelling.

Something very close to reality will be achieved many decades before we get to perfection.

That near-reality experience will be so immersive, empowering, exciting and even frightening that the idea that anyone is going to instead sit in front of a TV fiddling with a joypad is laughable.

Virtual Rome wasn't built in a day

Just because I believe VR will eventually be achieved and universal, that doesn't mean I think it will be easy getting there.

We don't yet have the scaffolding to create a convincing VR sock drawer, let alone a fully immersive world.

But VR games today have as much in common with where VR games will end up as a Punch and Judy puppet show has with Star Wars VII: The Force Awakens.

There is so much to be invented, tested, and learned.

And that's why I believe VR will be the most exciting area to work in games over the next few years.

For all the advances in what we used to call multimedia, we're still near the bottom of a Mount Everest that has to be scaled.

Or to mix metaphors, while films can now conjure up utterly lifelike scenes – given sufficient talent and months of rendering time – when it comes to live, interactive VR entertainment, we're gazing across the Uncanny Valley.

We're wondering when to take our first hesitant steps downhill. It'll be years before we can even think about climbing out the other side.

Tomorrow's world

Old hands have seen this sort of thing before. It reminds me of the consensus that said 3D would never be mainstream in video games, because how would you do side-scrolling platform games in 3D?

Soon enough, Super Mario 64 and Tomb Raider showed you couldn't quite achieve the same thing – but you could do something better.

Or think about mobile games.

I co-founded Pocket Gamer in 2005 when most people's idea of fun on a phone was Snake on a Nokia. Game developers were at the forefront when it came to scoffing.

But the technology moved incredibly fast, and now mobile is arguably the most popular platform for games.

Similarly, over the next few years, experimentation and innovation by pioneering game developers will radically improve VR entertainment, and along the way lay down the laws of virtual reality for generations to come.

How fast should a VR player turn and move? Can a static player be made to believe they can jump and fly?

And what to do when a player leans into a supposedly solid wall? Go black or fade out or send an electric shock through the headset? (Well, perhaps not that last…)

Forget Facebook or even the first true Virtual Reality Super Mario.

I have a hunch that VR game developers will work out the first 'rules' of a ubiquitous digital reality – one that someday we'll all live in.

Blog by Owain Bennallack, freelance journalist and member of Develop: Brighton advisory board. 

GUEST BLOG: Life Moves Pretty Fast

Wondering whether to attend this year’s Develop Conference? Stop wondering, and commit. Commit right now. Clear your diary. Book your train ticket. THIS IS IMPORTANT.

To quote Ferris Bueller: “Life moves pretty fast. If you don’t stop and look around once in a while, you might miss it”.

Everything is changing. Everything is always changing. Novelty, imagination, surprise and experimentation are fundamentally embedded into games culture and markets. We bestride the twin galloping horses of technology and culture like giggling, partially-blindfolded, stunt riders. Our job is to make millions of people do things they’ve never done before - while our platforms, models and markets are in a continual state of turbulence.

This month, Amazon announced a phone that tracks your head movements. Didn’t they used to sell books? Cloud Imperium revealed that they have 260 people working on Star Citizen. Didn’t you used to need a publisher to make a game like that?

So stop and look around once in a while. Remind yourself that games are made by people; people more or less like you - and that they’re ultimately FOR people, too. Good analytics will give you excellent insight into the way your players are behaving right now; but if you want them to stay with you next year, you’ll need a taste for the future.

Get it at Develop.



Jonathan Smith is Strategic Director at TT Games, and a member of the Develop in Brighton Advisory Board.

GUEST BLOG: The ‘Made in Creative UK’ Campaign

I’d like to use this blog piece to tell developers about the ‘Made in Creative UK’ campaign that aims to raise the profile of UK game developers.  The seed of this idea for the campaign started when I attended the launch presentation of The Livingstone Hope report (also known as the Next Gen. report) commissioned by the government in February 2011.

One observation made in the report was that so few of the public in the UK (or anywhere else in the world) know that the UK is responsible for many high profile video games. This means that students in the UK are less inspired to learn the skills required for careers in the games industry. Sadly IT (Information Technology) is seen by the brightest students as the worse subject on the curriculum.

I spoke to Ian Livingstone and Ed Vaizey about this at the reception afterwards and proposed that the government issue a ‘Made in UK’ logo that developers could use. I believed that developers would be keen to display this on their games and websites for the greater good of the UK games industry. They both said that would support such a campaign.

Unfortunately, after many meetings, I was unable to find government department that would launch and administer the campaign, so I decided to do it myself. I designed a logo, created the website and then starting contacting many friends in the industry to join the campaign.

The campaign has very clear goals:-
·  Inspire students to learn important skills for the digital economy in the UK
·  Raise the profile of the UK Games Industry across the world to promote global partnerships
·  Raise the profile of an important 21st century industry with the general public

The campaign has the endorsement of government officials, trade bodies and leading industry supporters, including: -  Ed Vaizey (Culture Minister), Ian Livingstone (Industry Spokesman), Dr Richard Wilson (CEO - TIGA), Dr Jo Twist (CEO - UKie CEO), Karen Price OBE (Chief Executive - e-Skills UK), Hasan Bakhshi (Director of Creative Industries, NESTA). Caroline Norbury (CEO - Creative England), Kate O'Connor ( Deputy CEO - Creative Skillset), Kelly Smith (BAFTA) and recently Nick Baird (CEO - UKTI)

I’d like to see British developers promoting the origin of their game. The world is very aware of many British pop stars, film and TV stars, and creations like James Bond and Harry Potter, but the origins of video games are largely unknown.

I’d like students and their parents, studying new computer science lessons to appreciate that there are game developers all around them, hence the developer map on the website, and that there are great jobs full of challenge and creativity. Making games is a very real and very rewarding career in the 21st century.

I’m delighted by the fast and overwhelming response I’ve had by UK developers embracing this important campaign, it started with Game developers, as it’s my background, but I see all creative digital content creators joining in, as the UK is world leading in all fields of digital media and we rarely get the recognition we deserve.

See the website www.MadeInCreativeUK.com and if you make games in the UK and would like to support the campaign, contact me, Philip Oliver - Philip@MadeinCreativeUK.com

 This blog was written by Philip Oliver, Co-founder of Radiant Worlds and long time supporter of Develop in Brighton - www.developconference.com

GUEST BLOG: Vive la punk!

As much as I don’t like to admit it, I’m an old bastard, having been in the industry in various forms for 20 plus years and working with the team at Sports Interactive for 19 years.

Miles Jacobson

In that time, I’ve seen a lot of changes. 20 years ago, hardly anyone was using email for a start, let alone high speed interweb that many people take as a human right nowadays. We’ve gone from bedroom coding, to being told that the only way to survive was to be a huge multi-project, multi-studio indie, from indie being the only way, to publisher owned being the only way, no studio IP ownership to Angry Birds toothpaste, from console being the only way to go, to mobile being the only way, and pretty much everyone up until a couple of years ago claiming that the PC was dead (for the record, we’ve done pretty well on PC constantly through this period).

It’s all been pretty exciting. We’re very lucky to be part of a constantly changing industry – the only stable thing being the entertainment we provide to people who play our games. But right now, for me, it is the most exciting the industry has ever been.

Effectively, we’re going through punk.

Barriers to entry have, by and large, been removed.  You can now make a game using one of the many platform tools available for next to nothing, and publish it yourself for Windows, Linux, Mac or Android with no barriers at all. Getting onto some of the digital retail platforms is harder, but in Steam Greenlight’s case, democratic. There are a few hurdles to cross on some of the others, but none of them unsurpassable. Unless you want to be on Xbox, but I expect that’ll change.

People making games in their spare time, and having hits. People able to make games around themes that they want to work on, rather than what the market tells you will sell. I’m very lucky in that, at SI, we’ve always made the games that we want to make with little interference, but I’m well aware that most in the last 20 years haven’t had that luxury.

Of course, this new punk isn’t utopia. There are still huge problems with discoverability no matter what platform you are on. I can name a lot of games that I thought would be a lot more successful than they have been, and others that have simply not been picked up on at all. When you have tens of thousands of games coming out a month, not all can be successful. But at least people are trying.

I see in the press a lot of the woes the industry has been through and still faces. But I don’t see enough celebration of the success stories, such as the dozens of teams that have gone from being made redundant to releasing their own creativity, the tools that give the power to the devs, the new IP so desperately needed to push the industry forward (hey – sports games are immune to criticism there, OK!)

What’s been really great for me to see has been the camaraderie amongst the new breed, particularly in the UK. I’m lucky to have met many of the devs and teams, both socially and via my work at UKIE, and it’s brilliant to see people helping each other out with discoverability which is the key to success – let’s not go the way of punk and let jealousy get in the way of getting creative work recognised. Or spit on each other. That would be bad.

Some old school publishers are learning, too. Those who aren’t fixated on next gen consoles and hundred million dollar budgets have either worked on their future business models already, or, well, just like so many record labels in the punk era, they won’t survive. They can certainly help with marketing, PR and finances for those projects that need it and, in many cases, will get extra sales on titles – but the best have learnt that they are not the talent who makes the games.

You, the developers reading this, are the talent. Make great games. The rest will follow. Vive la punk.

This blog was written by Miles Jacobson, managing director of Sports Interactive and Develop Conference advisory board member. Contact him on Twitter @milessi

GUEST BLOG: IT'S ALWAYS THE NEW, NEW THING IN VIDEO GAMES

"In all the time I spent with him, I never once heard him refer to his ability to see the future. He couldn’t see it – that’s why he had to grope for it. He would be seized by some overwhelming enthusiasm . . . and he would be off and running down some long, dark tunnel leading God knew where. . . ."

– Michael Lewis, The New New Thing

Virtual reality helmet designed by Toshiba 

What's that? You foresaw the modern era of games?

No you didn't. Maybe you saw multiplayer gaming over modems moving to the Internet, and games being slowly but surely downloaded on Steam.

Oh, and you played Snake on a Nokia.

These breadcrumbs pointed the way to today about as clearly as whether you can tell me if we will be will be ruled by our robot overlords come 2045.

It's only in retrospect the future is clear. Getting there is anything but.

The history of games comprises middling periods of dull conformity punctuated by short revolutions. Trying to predict gaming's future is a loser's game, because it's irresistible to look at the current winners and extrapolate, yet it's the revolutions that reshape the industry.

I should know! I worked at Edge back when screenshots posted in a jiffy bag from Japan constituted breaking news. I spent years writing future-gazing columns for the trade press, in which I pontificated about the end of retail. And I co-founded Pocket Gamer in late 2005, just ahead of the mobile games revolution.

I even helped put together the first 'evolve' for Develop in Brighton, after a year of raving about how the Internet was changing everything.

Hark at me, the visionary!

Hardly.

I was ten years too early in writing off the High Street. Worse, like everyone I foresaw people downloading FIFA 2015 for their PS4, not Clash of Clans on iPad. Indeed iPads hadn’t been invented and most mobile pundits thought the likes of Vodafone would wield all the power.

I was humbled recently when I revisited a feature I wrote for Develop around the time we launched evolve at Brighton. Entitled Games 3.0, it came out a few months before a certain exec's GDC talk of the same name that really caused waves. Brilliant – except I focused on user-generated content and YouTube, barely mentioning Facebook and free games.

In economics they call it 'hindsight bias' – the belief we saw whatever has come, coming. Nearly always we don't, but we edit our past to believe so.

In truth, even those of us who predicted digital distribution didn't foresee a new industry springing up alongside it, nor did we anticipate handicaps such as content discovery.

Digital distribution was meant make everything available anywhere. In reality it's created an unpredictable hit-driven business that makes 1980's Top of the Pops look like a sober scientific analysis of popular music, with the sums done by Stephen Hawking.

When I edited the then-newly launched Develop magazine a decade ago, the talk was all about how we would manage teams of 500 people, and whether we could shoehorn emotion into photorealistic $500 million blockbusters.

Yet it's teams of 5-10 people who've reinvented gaming and most of the emotion we've seen has come from the staff departing triple-A studios as they've folded across the globe.

Don't try to predict the future of video games. But if you must bet on it, bet on change.

In the meantime, monitor every new development in technology, software, and monetization as if your career depended on it.

It does! But don’t ask me exactly when, or how.

This blog was written by Owain Bennallack, the chair of the Develop in Brighton Advisory Board www.developconference.com