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Found 91 results

  1. Since inception, the internet community has been agog with excitement over every related achievement with virtual reality (VR). From Google I/O to Facebook’s F8, almost every major tech event is seeking to employ this new emerging technology as one of its main features. Today many top app development companies around the globe are getting busing developing VR-enabled apps for various industries beyond gaming. No doubt, it has risen to become a top-profile investment opportunity for startups, growing tech businesses, and top-ranking tech organizations. One area in which VR has gained high popularity is in iPhone app development. This has led to the commercial adoption and mainstream application of virtual reality which before now has been hovering on the periphery of technology. Regardless of geographic, economic, or social disparities, VR is bringing people from around the world to engage and interact together in a virtually-enhanced environment. No wonder it is considered as a productive enhancement to human interaction. Interestingly, app developers are employing VR to provide a huge amount of opportunities for users in the mobile world. These mobile app creators are integrating the technology into iPhone app development to not only promote entertainment – but also enhance effective communication, learning, and facilitate work. While some businesses have already started promoting and demonstrating their products to retail customers with VR, customers, on the other hand, are enjoying real insights and getting duly and better informed about the products or services they are purchasing. How VR is impacting mobile app development Ultimately, computer technology is employed to implement today’s virtual reality. This requires the use of a variety of systems including special gloves, omnidirectional treadmills, and headsets. With these, the human senses are stimulated to develop the illusion of reality. Taking the human physiology into consideration, many mobile developers are taking bold steps to take the innovation one step further by integrating iPhone app development to achieve a better sense of presence. Basically, this can be said to be a new means of introducing mobile users to a more personalized experience. For the first time, objects can now have a sense of spatial presence in an interactive 3D world. Many successful iOS games and apps have proven the ubiquity of virtual reality once perceived as a gimmick. In today’s fast-changing world, developers are utilizing this technology to enable users to explore and interact with the environment to make new discoveries. These explorations are already being witnessed in several industries which include sports, arts, medicine, architecture, education, entertainment and so on. Thanks to iPhone app development, mobile users are already using VR to see and interact with virtual life-sized three-dimensional images. Experiencing emulated, virtual world has completely shut out the reality. Now with HMDs (headsets) and special VR systems, mobile users can effectively perceive the technology right from their devices. Just so you know, the App Store is currently receiving an influx of VR games and apps that are making use of sound effects and audio through speakers or headphones with which spectators can achieve enhanced effects. Now, a gamer can use special VR-enabled devices to become the game character itself. This is simply one obvious example of the use of this technology. Basically, developers have succeeded in integrating VR into iPhone app development to create mobile virtual gaming in which users can engage in gaming activities like walking and looking around as if it were real but simply performed in a virtual, simulated world. One of the first industries to adopt this technology are the entertainment and advertising industries. With iPhone app development, developers have adopted the technology to help marketers and advertisers promote their products. Interestingly, there is no end as to how this is expanding with more and more businesses finding new ways of using it. A common case can be found in the tourism industry where users can engage in virtual tours with this technology. As a matter of fact, people can now have what seems to be a real experience of an activity like visiting the Louvre or hiking the Grand Canyon while being physically present at home. How app developers are getting involved While the VR industry can be said to be in its infancy stage, there are quite a lot of opportunities that can be achieved with this emerging technology. When it comes to developing VR-enabled apps for mobile devices, it is good to know that there are several ways by which developers can come out with engaging products. Basically, it’s all about ensuring full interaction. Rather than simply watching, users are allowed to interact with the virtual environment in which they find themselves. These developers try as much as possible to get viewers fully and actively involved in every step of the way. That’s basically what a virtual reality experience is all about. Interestingly, there are no rules guiding the use and development of the technology thereby revealing more potential to explore. Simply put, there is a boundless space of possibilities with VR in iPhone app development. Developers are free to apply any rules of their choice since it is not limited by any principle. Users, on their own part, can enjoy a truly unique experience in different ways, as they are not restricted to a specific traditional perspective or method. All developers need to do is to create an immersive experience for their users by utilizing a combination of audio effects, a 360-degree video, and 3D still images. Without the right mix of audio-visual features, iOS developers can rarely make their VR content look appealing and function effectively. Remember, this is one feature that requires proper interaction and adequate engagement between users and the visual environment in which they find themselves. Conclusion Many businesses are already seeing the potential of a virtual experience. While some have started taking the bull by the horn (i.e. implementing the technology), many others have already started work and are in the development phase. Obviously, it won’t be long before this technology takes over the whole business space. Never forget that VR is yet to reach its full potential while the trend is growing so powerfully.
  2. Ray tracing 60 FPS on Tablet.

    Hi , I was considering this start up http://adshir.com/, for investment and i would like a little bit of feedback on what the developers community think about the technology. So far what they have is a demo that runs in real time on a Tablet at over 60FPS, it runs locally on the integrated GPU of the i7 . They have a 20 000 triangles dinosaur that looks impressive, better than anything i saw on a mobile device, with reflections and shadows looking very close to what they would look in the real world. They achieved this thanks to a new algorithm of a rendering technique called Path tracing/Ray tracing, that is very demanding and so far it is done mostly for static images. From what i checked around there is no real option for real time ray tracing (60 FPS on consumer devices). There was imagination technologies that were supposed to release a chip that supports real time ray tracing, but i did not found they had a product in the market or even if the technology is finished as their last demo i found was with a PC. The other one is OTOY with their brigade engine that is still not released and if i understand well is more a cloud solution than in hardware solution . Would there be a sizable interest in the developers community in having such a product as a plug-in for existing game engines? How important is Ray tracing to the future of high end real time graphics?
  3. Is it possible to asynchronously create a Texture2D using DirectX11? I have a native Unity plugin that downloads 8K textures from a server and displays them to the user for a VR application. This works well, but there's a large frame drop when calling CreateTexture2D. To remedy this, I've tried creating a separate thread that creates the texture, but the frame drop is still present. Is there anything else that I could do to prevent that frame drop from occuring?
  4. Heroes & Legend is an epic fantasy role play game that I believe will set new standards in role playing. Featuring a rich audio score of over 50+ sound tracks. Currently the game has four on board developers, designers, programmers, and music composers. I am taking on eight more people that are dedicated. You may view six of our audio scores in our first audio enticement video here: Vimeo: YouTube: Gamedev - Project: Gamedev - Blog Company Website - Under Construction http://www.i3dix.com Summary: We are looking for artists familiar with iClone7, iClone Character Creator 2, Blender, PBR, and the 3D Exchange Pipeline. We also need some entry level to proficient Unreal 4 Developers who can help in getting World Max - I, our premier procedural world generator out on Unreal 4 market. This procedural world generator utilizes a 2D Vector Database for SRTM and Natural Earth database importing or creating large worlds smaller or larger than earth with latitude, longitude, Bathymetry and topographical overlay. I am a 25+ year software engineer in charge of the company and would be considered a 10+ year software engineer. Also, I am taking on a couple positions for Java Developers to create our companies premier Content Management System complete with a Web Hosting Module, Project Management Module, Subversion Module, interacting on a Linux System with a LAMP + T setup, subversion repository, who can also manage Network Administration. Assets are synched via one-drive, projects maintained via private GitHub repositories. Will train applicants, so don't be a cissy, try me, and let's see if you have what it takes to be a partner. All potential partners must sign a company NDA (Non-Disclosure Agreement) and Business Agreement via DocuSign. Profit share on all products is 0.025% of the 10% quarterly budgeted net for payment. If you think you have what this takes, then I look forward to hearing from you.
  5. Contract Work

    I need to make money to fund the further development of my game. So, I've been doing paid contract work in VR. Most of the work is pretty easy for me and consists of producing VR applications which run 360 videos with some interactive GUI elements embedded into it. I also have been helping other game developers produce their games. Initially, I charged $50/hour for my early VR programming work. I believed that I needed to figure out the development process and it would take a bit longer because it was new to me, so I felt bad charging a higher rate. I got it figured out now, so I raised my rates to $75/hour. I... think I made a mistake. The way I came up with $75/hour is pretty straight forward. I took my previous annual salary and divided it by the number of hours in a full working year, and that gave me a rough ballpark on my hourly rate. The flaw in this approach is that I was assuming that the amount of work I have would be constant, that I would be working a full 40 hours a week with billable hours. The reality is that I have huge gaps between projects, so that means I have huge gaps between billable hours. So, the general intuition would be to increase my hourly rate, right? I think that's also a mistake. The problem is that I've gotten too fast. It used to take me something like 10 hours to produce a 360 VR video app. That's because I built it from scratch. Now, I have a code base and template I reuse. It takes me about 2 hours to produce a simple video app. With an hourly fee structure, it's more profitable for me to work slow so I can charge higher bills. But I can't do that, I'm an honest man and my integrity is priceless to me. I'm also a lazy engineer which causes me to strive for efficiency so I don't have to do tedious, wasteful work. Spending 10 hours on a 2 hour project would feel like a waste of time and an antithesis to common sense. So, I'm tentatively thinking that the correct fee structure is to charge a per project cost. If I quote someone for $5000 to complete a project, that's what I'll charge regardless of how long it takes. If I can finish the project in 5 hours, congrats, I just made $1000/hour. If it takes me 50 hours, then I made $100/hour. Now, I'm properly incentivized to work fast and efficiently. The faster I work, the more rewarding it is. This comes with some risks as well. What if I estimate that a project will take 15 hours, bid accordingly, but it really takes me 30 hours to complete? I'm making another mistake here... I'm not taking profit into account. If I step outside of myself for a moment and pretend that I'm an employee to myself, and employees are paid an hourly rate (let's say $75/hour) and I'm bidding on the cost of a project based off of just my raw production costs, then I make $0 in profit. All of the income goes directly into paying for the employee salaries, leaving nothing for the company, meaning growth is impossible and I lose money over time due to overhead costs. Instead, I should be taking the employee salary ($75/hour) and multiplying it by a factor of at least 2.5x. If I replace myself with a hired employee and keep the same fee structure in place, then the company is equally profitable because I am interchangeable with other workers. If I add more workers to the team, then of course my bid estimates will change. So, the total bid = sum of all wages * 2.5x; For clients, this could be a pretty good system as well. Instead of having runaway costs inflate a project budget, there is a fixed cost of production. My biggest challenge will be to accurately estimate the scope of work and bid accordingly. If I underestimate the scope, then I eat the cost difference. If I overestimate the scope, more profit, more reward! But then, I also come full circle to the original problem I had: If I originally took 10 hours to finish a project and bid accordingly based off of that time estimate, but through experience, innovation and increases in efficiency I now reduce that same work to 2 hours and bid accordingly, I would still be losing the hourly difference. So, do I bid as if I'm starting everything from scratch because my competitors would be in the same position? Or do I look at the requirements of a project and use that as an input parameter into a piece-wise defined function to assess estimated cost? Or, do I just pick high numbers in a random ballpark and hope to get lucky? Obviously, if requirements change, then the cost should change proportionately as well. If I charged a flat $10,000 for a project given its requirements / feature spec, and then a few weeks later the client decides to add/subtract a requirement, how would I figure out how to proportionately adjust the pricing to reflect the change in scope? I... don't... know... One other thing I'm finding annoyance at is that some clients aren't good clients to take on. Indies and startups are bad because they often don't have money, no matter their good intentions and promises. If it's going to break the bank for them to have me work for them, it's likely they'll be unable to pay me or that it will take 6+ months for me to get paid. I owe people money, I can't keep them waiting because I'm waiting to get paid. If they're sweating over my up front fee of $150, I shouldn't take them on as clients. My policy should be, "If I think they can't afford me, they can't afford me.". It may be better to risk leaving money on the table than taking on bad clients. Maybe I should increase my fee to weed them out? Another factor I hadn't considered are the non-billable hours I put into project efforts: Responding to emails and answering phone calls. On some projects, I've put more hours into phone calls, conversations and emails than actual, billable hours. Now, I want to be a nice person and to be easily accessible to my clients, but every hour I spend on email or phone calls is an hour I'm not spending making money. Every hour I'm not making money is also an hour I'm not working on Spellbound. I'm tempted to charge for my time here, but I don't want to start a stopwatch every time my phone rings or I get an email requiring a response. Maybe I should just pad my estimated hours to account for time spent communicating? Or maybe I should measure the average amount of time I spend doing administrative stuff on behalf of a project, and adjust my multiplier accordingly? Instead of a 2.5x hourly rate, maybe 3.5x? The last few factors I also hadn't been considering is that I'm a freelancer, with talent and experience, ready to hit the ground running, today. I'm not an employee, so I don't get "company benefits". No medical. No dental. No vision. No retirement fund matching. No overhead costs (HR, managers, office space, parking, cafeterias, admin staff, etc). When the project is complete, I am done and go away -- an employee would still incur costs afterwards. No employee liability. Don't like me or my work? Fire me, no mess, no HR hassle, no legal wrangling. That means I have to pay for all of that stuff out of my own pocket, so I need to charge more as a contractor. My girlfriend has taken ample opportunities to remind me that I'm not charging enough. She told me that based on my skill set, I would be equivalent to a "technical editor" in the Hollywood film industry, and they charge something like $175/hour. Based on my background and experience, and how niche my industry is, she believes I should be charging at least $300/hour. That... makes me a bit pale to consider as an hourly rate. I have a hard time believing I'm worth it. But hey, if I can complete a project in hours which would take other people 5-10x longer, if not more, than maybe I am worth it. I recently went and visited a motion capture studio near my office to figure out how I can use them and what their rates are. They charge $3750 for 4 hours, or $8000 for 8 hours. That's a lot of money for a poor indie like me, but... really, it's not a lot of money at all when you think about it. I should be charging roughly in that ball park, right? Deep down inside, I think I feel afraid to charge a lot of money for what I do. But I think I need to reframe the way I think about this. People aren't hiring *me*, they're hiring *my production company*, and for now, I just happen to be the sole employee. If I staff up in the future, I wouldn't feel bad charging high rates to cover my costs. But staffing up would also mean I have to dedicate a significant chunk of time towards staff training, and I'm capable of training staff, so... that means I'm pretty good, right? I guess I just see the work that I do as "easy" and "enjoyable" and I shouldn't be getting paid for this. But, the work is only easy for me because I've got 18 years of experience and the projects I take on are 10x easier than writing my own game engine from scratch, or building enterprise systems for the military. Truly, the biggest risk for me is that the work is such a cakewalk for me that I am bored by it. I was realizing this afternoon that I'm most incentivized to work on other peoples' projects when I'm getting paid really well for them. $75 per hour is not enough money to motivate me to overcome my boredom, but $150/hour is. My girlfriend also tells me that I'm terrible at business, that I don't really have the head for it. I half believe her because she's a lot more experienced than I am, and she's bringing in a lot more money than I am. I've been thinking carefully about what I'm currently doing, how it's not profitable, and what I need to do in order to make my work profitable and worth my time. With my current flow of contract work and my billing rates, I don't make enough money. Honestly, it's just barely enough to pay my cheap office rent. I'm practically treading water, getting nowhere even though I'm working hard. For the last few weeks, I've been thinking that I need to get more proactive about getting money. I need to get out of my chair, put on a nice dress suit, take my VR goggles, and go door to door at every company and show them what I can do for them and how it can help their business. I need to figure out my sales pitch, refine it, and go get myself some big work. I believe in VR, I think its the future, I am bullish on its prospects, and I can sell. I have proven to myself that I have the personality and capability to sell, I can build what I sell, so... I should just get up and go do it. I'm optimistic that I could do well, but I'm sort of holding myself back somehow. The dream is that I do well enough at bootstrapping that I can work myself out of every job and become more of a CEO/producer type, hiring people to replace me. Programmer? Hire that out. Sales guy? Hire that out. Film guy? Hire that out. Hire people for everything -- delegate -- don't get my hands dirty, don't get into the weeds. If I do, I'm still doing it wrong. While I'm fully capable of writing code and producing everything myself, I can't scale. I would be just one guy, taking on projects with a scope of what only one guy can complete. Big projects = big money. I also sort of think that I should split my time 50/50 between providing services to clients and creating my own software applications and releasing them online. The problem with exclusively doing work for clients is that it fixes my scalability to whatever workload my production company can handle. My throughput is fixed, and thus my income is limited by my throughput. It would be a trap which limits my growth potential. However, if I build and release my own apps at the same time, my growth potential is limited only by my marketing and sales capabilities. Once an app is completed, I can make an infinite number of copies in an instant and sell them. If I diversify and make several apps in several different market categories, a few of them are bound to succeed. I have been particularly infected by an idea which could potentially establish a new market category for content in the VR market (I'll share details after I execute). If I can produce it, market it, and sell it, and it thrives, then I could scale it out and go big. I'm planning on creating a working prototype this spring and releasing it to the market to see how it fares. Anyways, the point is that it would be easier to make $1m by scaling out a successful app than by scaling out client services, but a successful app could also be an additional service category offered to clients. However I do it, I will fund the production of Spellbound and I will have a well funded team working on it...eventually. Anyways, I did something cool the other day. I integrated Leap Motion with 360 videos, so you can use your own hands to pan the camera around. I'm also going to add in finger taps for pressing buttons, so people can feel sort of like Tom Cruise in Minority Report. The placeholder video was shot a month ago at a Dell factory in China as a part of their effort to be transparent about their production pipeline. Check it out:
  6. Have some UE4 experience with C++, some c# (outside of unity), mostly Java/JavaScript/PHP oriented background. Just looking to get more practice in the game development area. LF UE4 preferrably, but am open to anything. Reply here and I will be in touch! Thanks -Andrew
  7. Hello guys I need tutorial to learn How can i create a game server for save my game from hack
  8. The European market for VR, AR, and MR is competing with those in the US and Asia, according to a new report by VR Intelligence and SuperData. With the help of industry experts from Epic, KLM and nDreams, the free report explores the biggest opportunities for driving mass adoption on the content, across consumer and enterprise. The white paper features: Front line insight from senior leaders @ Unreal Engine, KLM and nDreams + brand new data from SuperData Exclusive details on growing and emerging projects in the European market The reasons businesses are (or are not) focusing on the European market Details on which leading companies are driving the European market and why they are ahead The white paper can be downloaded for free from here: http://bit.ly/2nt3rB3. Jasmine Kees, Project Director at VR Intelligence, said, “With this report, we’ve tried to give both a quantitative and qualitative overview of the European VR, AR and MR market. It’s encouraging to see these figures from SuperData, particularly when backed up with such positive words from Epic, KLM and nDreams, gearing us up nicely for VRX Europe in Amsterdam this May”. The white paper can be downloaded for free from here: http://bit.ly/2nt3rB3. For more on VRX Europe 2018 (Amsterdam, May 17-18): http://events.vr-intelligence.com/europe/.
  9. The European market for VR, AR, and MR is competing with those in the US and Asia, according to a new report by VR Intelligence and SuperData. With the help of industry experts from Epic, KLM and nDreams, the free report explores the biggest opportunities for driving mass adoption on the content, across consumer and enterprise. The white paper features: Front line insight from senior leaders @ Unreal Engine, KLM and nDreams + brand new data from SuperData Exclusive details on growing and emerging projects in the European market The reasons businesses are (or are not) focusing on the European market Details on which leading companies are driving the European market and why they are ahead The white paper can be downloaded for free from here: http://bit.ly/2nt3rB3. Jasmine Kees, Project Director at VR Intelligence, said, “With this report, we’ve tried to give both a quantitative and qualitative overview of the European VR, AR and MR market. It’s encouraging to see these figures from SuperData, particularly when backed up with such positive words from Epic, KLM and nDreams, gearing us up nicely for VRX Europe in Amsterdam this May”. The white paper can be downloaded for free from here: http://bit.ly/2nt3rB3. For more on VRX Europe 2018 (Amsterdam, May 17-18): http://events.vr-intelligence.com/europe/. View full story
  10. Unity Studies!

    Hey guys, I’m Jessica, a User Research Coordinator at Unity 3D. We’re working on a few new features that we think might be interesting to you. We are looking for people to help us while we develop new Unity Engine tools. We do this by doing studies, and that's why I am here today. We want and need the voice of the people who both use and don't use Unity, as well as beginners to intermediate and pros. If ANYONE is interested in helping out and getting come cool swag from us, please let me know at jessicaa@unity3d.com If we don’t get back to you due to high volume, we apologize and promise to reach out to you for our future studies. Thanks so much, Jessica
  11. VR Guns And Notes

    Hello everyone, I would like to share with you some info about the game created by VRFactory. Gameplay: Perfect party game straight from the VR Arcades now available to all gamers. Pure fun and entertainment that allows you to immerse yourself in the virtual world! Choose one of three music genres or upload your favourite track. Shoot at the notes coming out of the loudspeakers to score points. When you shoot notes on the same colour one after the other you will score extra combo points. Aim at violin keys and various instruments to score even more points! If you really want to score high, here is a tip - don’t miss! Imagine you are the best music producer in the world. You are sitting in your record studio, working on a new album for your favourite band. As always, you want to get the perfect sound. You play the song once, twice, three times and... That's it - you’ve had enough of this! You pull out two fully loaded guns and start shooting away at all the notes coming at you from all the loudspeakers around you!!! 5 steps to have great fun: 1. Start Guns & Notes 2. Choose one of the three available recording studios: - Classic - Rock - Electronic 3. Upload your favourite track 4. Do Your Best!!! 5. Have fun!!! Genre: Horror / Comedy (?) Platforms: PC Language: English Engine: Unreal Engine 4 Availabe: Steam: http://store.steampowered.com/app/781320/Guns_and_Notes/ Oculus: https://www.oculus.com/experiences/rift/1546467622114483/ Vive: https://www.viveport.com/apps/2fc11068-acb1-467b-b18a-f2613682f118
  12. Stygian VR

    Stygian is a story about a person whose Earth has run it's course and the population is dropping like flies, but they found a way to escape this reality through conscience upload. You now step into the shoes of this person and take control as they make their way through the dimensions. Stygian's goal is to appeal to the emotions and let you experience things you wouldn't be able to in the real world, which I believe is one of the main goals in VR. Each time you leave a dimension, you should feel like you left something behind, but excited to discover what lies ahead, as each dimension is completely unique, strange, and sometimes dangerous... Central rich story accompanied by various paths and danger Thought provoking puzzles Beautiful, unique dimensions (3/15-20) Interactive and immersive VR environments Replay ability! No Stygian play-through will be the same as there are multiple routes and multiple endings! (Enter the wrong dimension and you could be in trouble...)
  13. Hello, and welcome to Puppy Chef Academy! Puppy Chef Academy is a Virtual Reality cooking experience designed to help you learn how to cook without the stress and mess of a real kitchen. The game blends the simple controls of Job Simulator with the innovative gameplay of Cooking Mama, with a splash of visual novel storytelling. Throughout your adventure you’ll cook tasty recipes, learn about cooking, and even make some friends along the way! Today I'm going to talk a little about Puppy Chef Academy as not only a game, but how it helps players learn the one skill that everyone wants: Cooking! The idea for Puppy Chef Academy stemmed from my dissatisfaction with Job Simulator's "cooking" segment. While the control scheme was excellent and held so much potential, unfortunately it didn't satisfy my itch to make actual recipes and felt more like playing with an adult-sized toy kitchen set. I decided to make my own VR cooking game, and thus, Puppy Chef Academy came to be! My main goal for the project was to help less culinary-inclined players overcome their fear of the kitchen. You know who I'm talking about, the ones who've never chopped an onion, boiled water and burned it, and swore never to cook anything again. What those people don't realize is that anyone can cook! Like anything, it just takes time and practice, which unfortunately means you'll inevitably have to clean eggs off a stove top, throw away burnt pasta, and languish in the utter defeat that is seeing your loved one smile through their teeth to tell you your Penne Flambe was good while scraping the rest off into the nearest potted plant when you aren't looking. Puppy Chef Academy is designed to help you feel the accomplishment of gaining culinary skills, minus the risk of failure. The beauty of VR as a medium is that skills you learn in VR carry over into real life, and vice-versa. Surgeons are looking into VR as a training tool to perform life-or-death operations. One of Owlchemy's earlier videos showed one of their team members happily juggling in VR just like he does in real-life. It's incredible, because when the headset is strapped to your face, it truly does become your reality, if only for a brief period of time. Fostering a safe environment to experiment with a skill without the risk of failure is what Puppy Chef Academy aims to do, and how it strives to accomplish that is explained further below: Firstly, the techniques. As far as I know, no one has mentioned anything about the gravity feeling strange in Puppy Chef Academy, which is great. It means that I've done my job correctly. What players don't realize is that the world in Puppy Chef Academy seems to be a little smaller than ours, resulting in a lower gravitational pull. I'm joking, the gravity is set slightly lower than "real" physics. But why is that? Isn't the point of learning to cook in VR supposed to be a "realistic" experience? No! The slightly lower gravity is a very deliberate choice. The reason being is that the "realism" isn't as important as learning the movements and techniques. Did your elementary school have "juggling days" where you and 20 other kids were corralled into the gym to learn how to juggle scarves? No one juggles scarves professionally, that's not what juggling scarves is about (and if you do juggle scarves professionally, thank you for making me feel better about my career choices), it's about learning the movements that transfer over to juggling other things. Juggle a scarf, juggle two scarves, three, then juggle one ball, two balls, three, so on and so forth. It's about technique, which for the most part, the lowered gravity (and higher air friction, in the case of scarves) helps you learn. Like juggling scarves, Puppy Chef Academy helps you build confidence in your cooking techniques. The day I flipped an egg through the air and landed it in the pan perfectly was the day I realized I had made something truly unique, as up until that point I had never flipped an egg like that before. It wasn't until I reached several hundreds of hours playtesting Puppy Chef Academy and trying to nail the pan flipping technique in VR (juggling the metaphorical scarf) that I finally felt the confidence to do it in real life. I didn't even think about it, because subconsciously I had flipped hundreds of omelettes and eggs already! When you hear about the untapped potential of VR that so many devs, users, and analysts talk about when they discuss VR’s future as a medium, that’s what they’re talking about. And by that, I mean the skill learning, not the egg flipping (though egg flipping is pretty cool though, at least it impresses the missus!). So we covered how VR as a medium can help build the player’s confidence to learn new skills. Unfortunately, that alone isn’t enough to keep players engaged. What else can we cram into each recipe to make players feel excited to learn about cooking? Simple. Story, and history. From recipe to recipe, a story unfolds that bridges the recipes together and keeps players on the edge of their seat, excited to see what happens after each episode. Between steps, the characters will give an abridged summary of the dish’s history; sure, you may have ordered miso soup at your favorite Chinese restaurant before, but did you know that miso soup used to be a luxury consumed only by nobles? In Puppy Chef Academy, you learn interesting facts like that about every recipe you make. The combination of story and history tying together interactive segments make for an experience that is not only engaging, but also educational (without the boring homework assignments!). What better way to learn than to have fun while you do it, right? What I’m trying to get at here is that by interweaving gameplay, story, and history, Puppy Chef Academy helps players learn how to cook without even realizing it! While there may be some who don’t find the idea of visual novels, culinary history, or even VR at all appealing, I believe Puppy Chef Academy has hit the right balance of the three to bring something truly unique to the medium; both as an educational experience, and as a game. With any luck, hopefully future home chefs will pick up the game and feel the same way about it too! And of course, I'll add an option to play without the story. Anyway, thank you for taking the time to read the first devlog for Puppy Chef Academy. If you'd like to find out more about the game, feel free to take a look at the links for the game below! Until next time, - Tom Website: http://www.puppychefacademy.com Patreon: http://www.patreon.com/PuppyChefAcademy Discord: https://discord.gg/tJ6aZdV Reddit: http://www.reddit.com/r/puppychefacademy
  14. Hello, My Name is Olivier Girardot, I am a music composer and a sound designer. I am working with a friend and great artist Gero Doll on a VR project called DreamArtVR. Gero is doing all the design and programming, while I am creating the Sound. Gero has by far the hardest part. Plus he is not a programmer so he has been struggling a lot to achieve this first level, and there are some imperfections, but I think he did a great job. We would very much appreciate if you could try the demo and give us your honest opinion. We know there are a lot of things to improve, but we hope we are on the right path to create something unique, and interesting for the players. We are also hoping to get some financial help to finish this game and hire a programmer. We are looking forward to reading your impression on this game. Here is the video teaser: And here is the webpage where you can download the playable demo: https://limbicnation.itch.io/dreamartvr Thank you for your time ! Olivier Girardot http://www.ogsoundfx.com http://www.ogmusik.com http://www.limbicnation.com/
  15. TL;DR: I'm a software engineer focused on VR game dev. I'm looking for partners who want to work together as a legitimate game studio making quality 3D games. About me: - I live in Los Angeles, CA - I'm a software engineer and I've built apps from A to Z - In my previous job, I did native mobile app development for numerous Android VR apps - I'm experienced with music composition/production: https://soundcloud.com/ryancomposer/march-of-nobility - I have a blog documenting my journey as a game developer: http://notherverse.com/ - I take care of legal, networking, accounting, marketing and development responsibilities - I use Blender for modeling, Substance Painter for textures, and UE4 for the game engine - I'm experienced with video editing and use Adobe Premier Pro + After Effects - I enjoy grinding on weekdays and hitting the bars on weekends My strongest area is programming. I'm looking for designers and modelers. You don't need any experience at all in the VR space nor any VR hardware. I'm fully open to splitting ownership/profits/royalties based on contribution. Must have portfolio or something to illustrate experience level. Respond to this thread if interested. Thanks! Though I'm already working on a project, I'm open to working on something else that we're all enthusiastic about. Here's my current project, a VR mech game using UE4 (see progress at blog: http://notherverse.com/):
  16. Title: Heroes & Legends Style: MMO & RPG Required Knowledge: Blender, Make Human, Krita, Gimp, PixPlant Stage: Content Creation Description I am breaking this down in to a piece by piece team building effort. I need artists. I am a software engineer by profession. I have spent a few years working on modeling, character design, item design. Currently I am working on a Human with detailed rigging. There are format rules, and you must understand unreal units. 1 unit = 1 centimeter. The start out of the human is 5'6. The character rig is very detailed and will be assembled in Unreal according to specific format guidelines so you must be capable of disseminating the format for skeletal structures I am producing so when this is on Unreal Store we can continue to expand and implement content. I need texture artists, concept artists. Here are some benefits I will be providing. Access to pluralsight.com. I will be providing access to unlimited current books. I will be providing the basic sounds, basic server, and GitHub repositories. If you have imagination and want to contribute to something astounding for the modern day PC, then please, contact me and lets start this. In the long term, on completion of the project, the company will be moving to a focus on military combat simulations similar to Janes years back. So you must be willing to stick with the team in the long term once we move our creations, like world generation, GIS, character creation to strategic combat simulators. This is just a stepping stone. This will be featuring music scores from Versus, and Ivan Torrent paid for up front and sounds from Audio Block. If your interested in what Versus Produces for music, go here: https://www.youtube.com/user/VersusMusicOfficial To give you guys a feel for where I am at in the character development process and the flow, please view the images attached. This game is for the more modern PC, Windows and Linux. The detail of the skeleton is going to reflect capabilities for really extreme motion graphics. The level of detail and character modeling, I am hoping will exceed most current fantasy games. Please look at the right of the image where I have expanded to skeletal structure so you can view the layout of skeletons in their parent relationship and how I am using a format description. if you think you can do this, then please, reply and send me a PM. A little warning, if you can't handle adult themes similar to The Witcher, then this is probably not for you. There is going to be alcohol, drugs, sex, in this game. So be prepared for high definition work.
  17. Today we are pleased to announce the release of Leadwerks Game Engine 4.5. Version 4.5 introduces support for VR headsets including the HTC Vive, Oculus Rift, and all OSVR-based hardware, allowing developers to create both room-scale and seated VR experiences. The Leadwerks virtual reality command set is robust yet incredibly simple allowing you to easily convert your existing 3D games into VR titles. To help get you started the source code for our Asteroids3D game has been updated for VR and is now freely available in the Leadwerks Games Showcase. Leadwerks Game Engine is uniquely well-suited for VR because of its fast performance, ease of use, and the availability of C++ programming for demanding VR games. Several optimizations for VR have been made including combining the rendering of both eyes into a single culling step. The stability and accuracy of Newton Game Dynamics means we can have in-depth physics interactions in VR. A new VR game template has been added to provide common VR features including teleportation locomotion and the ability to pick up and interact with objects in the environment. Visual Studio 2017 We've also upgraded Leadwerks Professional Edition to build with Visual Studio 2017 so you can take advantage of the very latest Visual Studio features. Instructions for upgrading C++ projects from version 4.4 to 4.5 are available here. Other Improvements Added fog settings in editor and into map file format. New joint scripts and enhancements. Updated to Steamworks 1.41 You can pick up Leadwerks Game Engine with a discount during the Steam Winter Sale. About Leadwerks Software Leadwerks Software was founded in 2006 to make game development easy and fun. The company launched Leadwerks Game Engine on Steam in January 2014 and has experienced steady growth, now with over 20,000 paid users. Leadwerks Game Launcher was released as an early access title in September 2015, allowing developers to publish games to Steam Workshop with no submission fee.
  18. Today we are pleased to announce the release of Leadwerks Game Engine 4.5. Version 4.5 introduces support for VR headsets including the HTC Vive, Oculus Rift, and all OSVR-based hardware, allowing developers to create both room-scale and seated VR experiences. The Leadwerks virtual reality command set is robust yet incredibly simple allowing you to easily convert your existing 3D games into VR titles. To help get you started the source code for our Asteroids3D game has been updated for VR and is now freely available in the Leadwerks Games Showcase. Leadwerks Game Engine is uniquely well-suited for VR because of its fast performance, ease of use, and the availability of C++ programming for demanding VR games. Several optimizations for VR have been made including combining the rendering of both eyes into a single culling step. The stability and accuracy of Newton Game Dynamics means we can have in-depth physics interactions in VR. A new VR game template has been added to provide common VR features including teleportation locomotion and the ability to pick up and interact with objects in the environment. Visual Studio 2017 We've also upgraded Leadwerks Professional Edition to build with Visual Studio 2017 so you can take advantage of the very latest Visual Studio features. Instructions for upgrading C++ projects from version 4.4 to 4.5 are available here. Other Improvements Added fog settings in editor and into map file format. New joint scripts and enhancements. Updated to Steamworks 1.41 You can pick up Leadwerks Game Engine with a discount during the Steam Winter Sale. About Leadwerks Software Leadwerks Software was founded in 2006 to make game development easy and fun. The company launched Leadwerks Game Engine on Steam in January 2014 and has experienced steady growth, now with over 20,000 paid users. Leadwerks Game Launcher was released as an early access title in September 2015, allowing developers to publish games to Steam Workshop with no submission fee. View full story
  19. I'm building the VR project template for Leadwerks 4.5. Although you can enable VR in any project, this template is specifically designed to provide some of your most common room-scale VR features: Teleportation movement, which prevents motion sickness. Picking up and throwing objects. (It's actually really fun!) To start with I am creating the art assets for the teleport effect. This is basically what I want: Your controller shoots a beam which ends in an indicator when it hits an upwards-facing slope. Typically this beam will be somewhat arced. Why the curve? This allows you to climb up to areas above you: As always, I am starting with the game assets. I don't believe in using programmer art because it hurts your understanding of what you are trying to create, it's uninspiring, and you will end up writing your code twice once you get the final artwork and realize all the mistakes you made. I started with textures. I know I want a circular indicator on the floor, a misty spinning effect rising off it, and a beam. I'm going to make all my textures grayscale so that I can control the color with the entity color value and dynamically change it in the game. Here are my textures I created in about ten minutes in Paint Shop Pro: The first texture above is clamped along the X and Y axes and the second one is clamp along the Y axis. I am using uncompressed textures for all of these because they have a lot of soft gradients. I created my materials with the following settings, again leaving everything white: In 3ds Max I created my indicator model. It's just a plane with a cylinder on top, with the end caps removed: When I import it into Leadwerks and apply my materials, the model looks like this: I'll show you why I am using uncompressed textures. You can see in this shot the edge of the ring has some ugly artifacts when texture compression is used: Here's a closeup. Not something I want to see in VR: Now I am going to create an instance of the model in the editor and adjust the color. I want a bright blue glowy color. I am setting the color to RGB 128,255,255 and cranking the intensity way up to 2.0. This effectively sets the entity color to 256,512,512. This color is multiplied by the texture color at each pixel and then clamped to 0-255 (the maximum color range of the monitor). That means that the brightest spots on the material will reach a full 255,255,255 white color and look really intense, while darker parts will be tinted blue: Notice the object isn't just a flat color, but has a range of color from blue to white. To get this effect I had to increase the intensity over 1.0 to create colors brighter than RGB 255,255,255, and I had to have some red in the color. If I had set the color to RGB 0,255,255 the red channel would never increase and I would have a flat color like this. Not so good: If I had set the color to RGB 128,255,255 but left the intensity at 1.0 I would also have a solid color: Finally I added a script to the model and saved it as a prefab. The script just rotates the model around slowly on its Y axis, which I think will look pretty good. I'm going to perform the rotation in the Draw() function so it doesn't get called if the object is hidden or offscreen, and I don't think anyone will notice if the rotation doesn't update when they look away: function Script:Draw() self.entity:Turn(0, 0.1 * Time:GetSpeed(), 0) end That's it for now. The next step will be to create my teleportation mechanic in VR.
  20. Developing crane simulator

    Hello everyone! I have decided to make a crane simulator (first person with view from cabin). Mostly, I aim on realism as I want this simulator to be used by real сrane operators to upgrade their skill. That's why I need an engine to easily work with physics (such as wind, rain, weight of cargo and etc). Have to mention that I don't really care about graphics quality. Maybe, but this has the least priority, after completing the whole project I would need a VR version of it, but for now I am planning just a PC version. Here is main points of my project: Physics has the major priority Using tools suitable for a beginner developer Ability to make a VR version of the simulator without rewriting of the whole project My experience in programming is mostly in computer science, so I am familiar with C++ and Python, but only on a level of coding some cool algorithms. That's why I don't really depend on a specific language. What engine and developer tools would you recommend to use? Easy to being with for a low-skilled like me, but suitable for my project. Thanks, Mike
  21. Dreamart VR is the direct interpretation of a dreamworld. The player resonates with the mere subconscious thoughts of the virtual character. The game consists of multiple scenes. Each Scene is directly or indirectly correlated to the previous scene, thus it unfolds the potential of a deep non linear VR experience. You can download the experience here - https://limbicnation.itch.io/dreamartvr E.N.J.O.Y
  22. Hello all! I'm currently in my third year on my 3D Animation & Games Development course, and I am in the process of doing some basic primary research for my dissertation project, which is to create a high quality 3D Environment for use in video games and potentially VR. I have a questionnaire (targeting other artists in the field), and I would really appreciate it if you took some time to have a look and fill it out: https://docs.google.com/forms/d/e/1FAIpQLScW12nFI8-fMlAUMNSQvOInxhnIfXpG91iRCm25TVlZufrvbQ/viewform?usp=sf_link Thank you in advance! Mike.
  23. Writing the story for Spellbound

    Spellbound is intended to be a story driven game. I feel that's the only thing which can make the game interesting on its own. The story of Spellbound has gone through a lot of evolutionary changes throughout the development process. When I initially conceived of the game, I just had a game concept: "Throw fireballs at zombies in VR, using your hands". As a game premise, that's mildly interesting but it would quickly lose its novelty and appeal. How do I make it interesting? I needed a story. Initially, my writing approach was to ask hard questions about the world: Why are there zombies? Where did they come from? Why is the wizard in a zombie infested graveyard? What's going through the wizards mind? What was his life like? What was his past? So, I tried to find answers which made sense, given that you're just some red cloaked dude in a wizard hat, slinging fireballs at zombies. The first version of the game and story was embarrassingly bad. The synopsis of the story: "You were a wizard whose wife had died, and you were searching for a way to bring her back to life because you missed her. So, you casted a spell promising to bring her back to life via resurrection, but instead, it just reanimated her and turned her into a zombie. The spell worked so well, that it also brought all of the corpses in the nearby graveyard to life as well! Your undead wife flees to the graveyard, so you have to defeat infinite waves of undead zombies. After a while, you face a big boss monster who was behind it all!" As far as stories go, that was pretty pathetic but also short. I'm a half decent writer with imagination, I know I can do better if I just spent some time to work something out. I needed to ship something playable to people, quickly. I thought that the main map would be my main game play, but it wasn't completed yet and ready for public consumption (it didn't satisfy my quality standards). So, I created an early "prelude" level. I also needed a main menu in VR, and since this is needs to be a seamless experience between game world and game menu, the menu itself can't be a static 2D screen like you'd have in traditional 2D games -- the menu itself had to be a level which you interact with. I was ruminating on story in the back of my mind for a while at this point, and I decided that I eventually wanted to have five wizards, each from a different school and theme of magic, each with unique story lines. My game universe was growing in complexity. But, I can't focus on developing the story. I need to ship as soon as possible to get something playable out there! I had chosen the "Red Wizard" as the first school of magic and theme to focus on. I didn't know what the story would really be, but I had written a really rough outline which served as a rough map on where I wanted to go with the plot. I would come back to the story much later and flesh it out, but for now, I just needed to create the prelude story and introduce players to the game universe and introduce a character or two. I wrote the prelude story in a day, polished the dialogue, and kept it somewhat vague, but also left a cliff hanger as a lead in for the main story. Then I shipped it. Currently, you can still only play the prelude and experience that story, and its short at best, but it shows the story telling model I'm using for VR: 1. I introduce an illustrated storybook and a narrator reads the first six pages. This serves as an establishing shot / context, and also establishes the narrator. 2. I fade to black, load the game world, fade in, and the story resumes from the first person perspective. The wizard talks to himself as a way to guide the player on what to do (a bit weird), and the narrator adds story as well, sort of like how a dungeon master would. 3. At the end of the VR experience, we fade to black and return to the library menu, and resume reading 1-2 illustrated pages as sort of an "epilogue", which can serve as a seamless lead-in for the next story. This month, I decided that I was a bit too aimless with my development and I needed to get more focused on shipping the next set of content. Okay, where do I begin? I don't have a level made, no story, barely any functioning spells, no crafting system, etc. What have I been wasting my time on?? Oh right, an AI system with machine learning. I realized that the pragmatic thing to do is stop everything else and focus on fleshing out the story for the red wizard. Once I have the story complete, I'll have a much better idea on the scope of the project, what scenes need to be built, what's important and what's not important, and I can start focusing on actually building my game around the story. This seems like an obviously good idea in hindsight. The story is like my game design document, and if the scope is too big, I can change the story until its achievable. So... I just have to write the story. The problem is, I just had a really rough outline on what I think the story should be about. Despite the outline, I actually don't know what the story is. Okay, so how do I figure that out? I just have to start writing. But, I can't just start writing blindly! I need to spend some time crafting the world, the characters, the history, the lore, etc! My approach to writing my story is to write out the very best first draft that I can, as completely as I can. The point is not to have a story ready for production, but to just figure out what the story is. What story am I trying to tell? Why is it interesting? What captures the readers attention and holds it? What can the audience get out of the story? What makes the story emotional? What creates a sense of wonder and amazement? What are the high points and low points of the story? Who are the protagonists? Who are the antagonists? Who are the supporting characters? What is every characters motive? Every character needs to have a flaw to be interesting, so what are the character flaws? How do those flaws get revealed? How does the character flaw play into the story? How does the story begin? What's the problem the characters are trying to solve? What's the struggle? How do the characters overcome the problem? How does the character need to grow in order to overcome the problem? How does the problem get resolved? How does the character feel about the resolution(s)? How does the audience feel about the resolution? How do we set ourselves up for introducing the next episode? Oh, and by the way, all of this has to be done in VR so we have to assume that the protagonist has total agency over decisions made, so story has to account for that. It's a bit of an overwhelming puzzle to work out. It's extremely important to note that since my game is going to be story driven, where the story either makes or breaks the final result, I cannot afford to half heartedly write a mediocre story. I have to write the greatest story I'm capable of writing. My game depends on it. The future of my one man company depends on it. My income depends on it. The story is the backbone. It's my secret sauce. My secret weapon. It's going to be what makes it a "must have" for every VR gamers library. And it can't just be a story which was shoved into a VR game, it has to be a story built from the ground up, specifically for VR, to make use of the unique story telling capabilities VR offers. So, I cannot just write out a first draft, call it good, and move forward with production. If it takes two weeks or two months to get the story perfect, then so be it. So, I'm thinking that I'm a bit of a novice when it comes to story writing. I have never published a novel. Never wrote a screen play. Never wrote a story for a game. At best, I've written a few short stories for a community college class. But, I have good story ideas, damnit! That's my stubbornness and ego peeking through, insisting that despite my lack of experience, I'm more qualified than anyone else to be the one who writes the story. How do I account for my lack of experience with "officially" not being published? I say, "It doesn't matter, I don't care, fuck it, I will just have to write 20 drafts to be on par with a professional." I think that's the right intuition though: Write 20 drafts of the same story. The first few drafts are going to be exploratory. You don't know what the story is until you've written it. You don't know who the characters are yet. You don't know their motives. The first version of the story is just a congealing of the oatmeal, where you bring it all together and sort of figure out what the real story is. This is where you answer all of the questions I listed above. You might need to write several versions of the story. Think of each version as sort of like a parallel universe, where each version can explore different possibilities in plot development. Eventually, you'll find that you're drawn to certain plot highlights and themes more strongly than others, and those become your story. At this point, you have written your story about 3-5 times. You're familiar with it, but not intimately. Now, the story becomes more like sheet music to you (the author), and it's a bit of an unfamiliar song. You can kind of play the notes and create a semblance of what the song sounds like, but it's rough and spotty. You know what notes you need to hit and when, so the only way to properly hit those notes is to practice, practice, practice. This means you're going to be rewriting your story, over and over again, each time getting more and more familiar with the plot. There isn't a fixed number of times you need to rewrite the story, but you'll know when you've written the final version: It'll flow like beautiful music off the paper, wrapping the reader in a warm hug before fleeting away. The reader will be embraced in a feeling of warmth and happiness for a moment, and then left wanting more, more, more. You've now got a page turner. A novel people can't put down. A movie which demands your attention. A game people can't stop. What happens next?! ...Turn the page to find out! I was recently encouraged by a blog article I read on the writing process of William Shakespeare. Most people think that his writings was pure genius, written from divine inspiration, and it just flowed to him easily via unnatural talent. Historical records of his writings show that actually... he wrote many, many revisions of his plays over the years. Even Shakespeare wasn't some savant writer who wrote perfect first drafts, and he's considered to be the best writer in the history of the English language. But I realized that I can't just start writing successively better iterations of the same story. There's SO much more to the story world than what people read on the pages. You know how when you pick up some fantasy books, and on the first page they have a map of the world, with kingdoms, city names, mountain ranges, rivers, oceans, and all of that stuff laid out? There is a whole story universe which the story events are set within! Each kingdom may have different politics. Different cultural customs. Different building construction aesthetics. Different values. Those background differences will and should make an impact on the story as its being told! Is slavery legal in one kingdom but not another? How does the climate affect clothing and customs? How does a traveler from one kingdom deal with the differences in culture in another? Is it a source of character conflict? What are the motives of each kingdom and its political leadership? What is the history which shaped the current state of the world? How does the past factor into any current conflicts? There's a LOT more investigatory questions to ask, but you get the idea. I realized that this narrative background stuff is very important to establish! It is literally the foundation upon which your story rests. The presence of this background scaffolding may never actually manifest in your story directly, but it is the world which contains your narrative events. If you don't build the world, your story doesn't rest on anything solid and it will be very wishy washy. So, before I started earnestly writing my actual story, I spent a lot of time writing about the world and its history. When you read my story, you are only experiencing 10% of the universe/work. The other 90% was scaffolding which was put into place, and then stripped away when it was no longer needed. People will just see the finished product and think, "Oh wow, this looks easy. I bet they just started writing from pure inspiration!", but that illusion is so far from the truth of the underlying writing process. I spent nearly a week just writing scaffolding background material. What are all the races? What are they like? What are their values? What institutions exist in the world? What is the history of the institutions? What is the common sentiment in the kingdoms? What landmarks exist? Why are they important? What creatures exist? What's their lore and background? etc. etc. You know what? I'm glad I did this. It created a nice background framework for me to work within. I, the writer, know everything about the Academy of Magic, who's really running it, where it's located, and its deep history, but the reader gets to discover little tidbits about this institution and they can gradually put it together like a puzzle. At the end, the reader may not know everything there was to know about the Academy of Magic, but maybe there will be more content later which brings those interesting details to the surface? Just think about it: How much did you know about Hogwarts after the first Harry Potter book? How much did you really know about Luke Skywalker after only watching Episode IV: A new hope? And after you experienced all of the content and had a better understanding of the world, and then watched it again, how much more sense did the actions of the characters make when you understood the background context? Anyways, I'd like to share with you a few select pieces of narrative content I've worked on recently. Keep in mind, all of this is first draft material, so there's a high likelihood that the 20th version will be very different: ~~STORY BOOK OPENS~~ Page 1: [Narrator]: “The legend of Rupert the Red… goes something like this” [Narrator]: “Over three thousand years ago, there was a grand battle between magicians of ages past. They nearly ruined the world, but instead, they set civilization back by thousands of years.” *Picture of wizards at war, volcanoes exploding, land tearing up, red sky* Page 2: [Narrator]: “The kings of old, never forgot the calamity. They unanimously decreed that henceforth…” [Kings voice]: “all magic must be banned. Those caught practicing sorcery, shall be put to death!” *Picture of kings sitting around a round table, one king is standing and leaning forward with a raised fist, addressing the other kings* Page 3: [Narrator]: And kingdoms across the lands, knew peace... With the exception of magicians. [Angry crowd]: “Burn the witches! Burn them all!” [Narrator]: “But while magicians and sorcerers can be hunted and killed, magic itself can never be extinguished. What the kings of old didn’t quite understand, is that magic itself is a gift bestowed upon mortals by the gods themselves. Oh, how they tried to kill magic though.” *Picture of an angry mob with torches and pitchforks, surrounding posts with silhouettes of people tied to them, as a massive fire burns them* Page 4: [Narrator]: The gift of magic was a sliver of the gods themselves, given to mortals to fight against darkness. When darkness came again, the kingdoms were defenseless and fell like wheat to the scythe. [People] : *anguished screams of terror* [Monsters] : *roaring, gnashing and slashing* *Picture of men, women and children being chased and killed by demon spawn. Sky is red, filled with smoke. The face of a grinning devil can be faintly seen in the clouds* Page 5: [Narrator]: A few sorcerers who had evaded the murderous clutches of men, stood united against darkness and sealed it away at heavy cost. [Magician Group]: Chanting in unison *Picture: 5 men and women, holding hands in a circle, with red, blue, white, black and green magical flame pillars, and connected lines of magical color in a star pentagram shape. In the center, stands an old man (Sassafras). Page 6: [Narrator]: The kingdoms were safe again, but the kings… they blamed the magicians for their destruction. *Picture of a group of soldiers nailing wanted posters to lamp posts* (Hammering sounds) Page 7: [Narrator]: A young boy, with the reddest hair you’d ever see, was born to a pair of humble farmers living on the edge of the Black Forest. [Baby] : Crying sounds *Picture of a crying baby being held in the arms of a mother, with a red shock of hair on its head* Page 8: [Narrator]: His father named him “Rupert”. The boy grew up, as all young boys do, and trouble followed naturally, as it does with all young boys. *Squealing pig noises and boyish laughing sounds* *Picture of a young freckle faced farm boy with a pot on his head, chasing a terrified pig with a stick* Page 9: [Narrator] : But, as fate would have it, the natural troubles of boyhood soon turned into supernatural troubles which only followed Rupert. *burning house & inferno sounds, screams* [Narrator] : Rupert was a magician. The villagers were afraid and angry. [Villagers]: “Rupert is cursed! He’s a witch! Burn him!” Page 10: [Narrator]: Rupert ran, and he ran, and he ran, deep into the black forest. The village hunters eventually gave up. (picture of rupert hiding under a stump while a dog search party with torches looks for him in the distance) *barking sounds in the distance* Page 11: [Narrator]: Rupert wandered through the forest for days, getting hungrier and hungrier. He stumbled on an old, broken tower of mossy stone, and made it his home. He lived on bark and berries. *picture of a young boy trying to eat bark in a forest, with teeth almost breaking against it* Page 12: [Narrator]: He lived for years, completely alone, terrified of the supernatural troubles which seemed to follow him everywhere. [Narrator]: Last night, Rupert discovered a book as old as time: The lost book of Sassafras. He was about to change the course of history -- FOREVER. *Picture of Rupert sleeping soundly on his back, with drool coming out of his mouth. A black crow with red eyes watches.* Snoring noises, followed by “Caw, caw! Caw!” from the crow. ~~FADE TO BLACK FROM STORYBOOK MODE, FADE INTO GAME VIEW~~ Note: Cawlin has somewhat of a German accent. [First morning, wake up] Rupert is sleeping in his bed after his late night journey into the undead infested crypts. He has been sleeping restfully for 11 hours and it is now nearly noon. An impatient crow stands at the foot of his bed. RR: "ZZZzzzz...ZZZzzz...huuuurffffgll, guuurffflllghh..." (deep snoring) Cawlin: "Cawww... Cawww... Cawkadoodlydoo! Wake up, you!" RR: "ZZZz---huh? Who said that?! Who's there?!" Rupert awakens slowly, the VR camera opens eyelids slowly, blinking awake. The player is looking down the foot of the bed at the crow. Cawlin: "Caww.." RR: "Oh… it’s just a stupid bird." Bird cocks it head to the side in curiosity. Cawlin: "Caww?" RR: "Oh, just listen to me. I'm already going mad -- first it starts with talking to the birds, then its rocks and then its trees." Cawlin: "Caw!" RR: "Say now, how did you manage to get in here? I didn't leave a window or door open last night, did I?" Cawlin: "Caw… Caw..." We wait for the player to get out of bed. They can either click the bed or walk out of the bed zone. Once they move out, we quickly fade to black and fade back in, to the wizard standing at the bedside. RR: "If I'm going to be a raving madman talking to bird brains, you must ... have a name... I shall call you..." Cawlin: "Caw... Cawlin." RR: "...Cawlin." Cawlin: "Caw! It's about time you got up, it’s well past noon! And just who might yewwwww be??" RR: "What?! A talking bird?! Now, I've certainly gone mad!" Cawlin: "Yes, yes, you’re a certified loon and I’m a crow.” (rolls eyes) Cawlin: “Now that we’ve gotten that out of the way, who are you?" RR: "Well...I'm Rupert!” Cawlin: "RRRrrrrupert… what is it that you’re doing in these woods?" RR: "This is my home! I live here." Cawlin: "Ho… how unusual... a huuuuman living in the black forest..." RR: "Unusual? ...Why?" Cawlin: “Humans haven’t ventured into the black forest for centuries. Those that do… never come out alive. There’s something… peck-uliar about you Rupert… What ees it?” *Rupert feels afraid for a moment because his secret about being magical might be given up* RR: “I… I don’t know what you’re talking about.” Cawlin: “No, there’s definitely something about you…. I can… smell eet… ah, there eet ees again! You’re… magical!” RR: “...Magical? I don’t believe in magic...” Cawlin: “You fool! Here you are, speaking with a talking bird, and you don’t believe in magic? I watched you last night as you rrrRRrroasted the walking dead with fi-yar.” RR: “Wait, you were there? You saw that?! It was real?!” Cawlin: “Of course I was... I had been waiting for you... all night! Quite the pyrrrrrotechic display, if I might say.” RR: “I still can’t quite believe what I saw. I almost thought it was just a bad dream -- I just -- haven’t been sleeping well lately.” Cawlin: “Yes, yes, it was all real. No matter! … Eet has come to my attention… that you have acquired a certain… book.” (pronounced almost like “buch”) RR: “Yeah, it was a really weird book… I heard it speak! A strange voice called out to me.” (Cawlin jumps up and down in excitement, flapping his wings) Cawlin: “Ah… do you know what you’ve found? Theees ees sooo exciting! You’ve finally found eet!” RR: “Ehh… what?” Cawlin: “The buch! The long lost book of Sassafraaaaaas! …. Eets verrry special to me. I must see it!” RR: “What’s so special about this book?” Cawlin: “Oh, eet ees only the most powerful buch of magic in the heestory of the world! It has been lost for thousands of years, but lost eet ees no more! You have eet! Eet is very special.” Cawlin: "Thees book, you know, it doesn't just get found by anyone. It... choooooses... Yes, that's the right word.. The book chooses ... who it uses. Many wizards think they use books, but never does it occur to them that the book uses them! Sassafras was it's last chosen wizard, and that was thousands of years ago! And last night, it seems to have chosen… RRRrrrrrrupert. Now, ...Why did it choose rupert?!" RR: "I don't know! I barely know anything about magic.” Cawlin: “The book must have it’s own reasons… muahahahaha” RR: "So, what now?" Cawlin: “We must read the magic buch, of course! Let’s go find eet!” Cawlin jumps onto the left shoulder of Rupert. There is no further dialogue until the player goes downstairs. A large book sits prominently on a table next to the door. It is sparkling and glowing, softly illuminating the darkness with red light. Cawlin: “Oh… there eet ees! ...thees ees so wonderful. I can feel eet… so close… yet so far.” (said in a deeper ominous voice) Cawlin flies from the wizards shoulder to go over to look at the book on the table. This helps direct the players attention. RR: “oooh...kay…” (said in the tone of, “who is this bird?”) Cawlin: “Open eet! Let’s see what secrets eet contains!” We wait for the wizard to use the book. When he uses it for the first time, the book opens and a bunch of green energy swirls from the book to the wizard. Upon the pages of the book is nothing but symbols and gibberish. RR: “What was that?!” Cawlin: “I don’t know. Magic maybe? Who cares, read the book!” Cawlin: “Well? What does eet say? What do you see?” RR: “It’s just a bunch of symbols and gibberish. I can’t read any of this!” Cawlin: “What?! Oh no...I hadn’t counted on thees. Why did eet have to be him? ... Why?” RR: “What? What do you mean?” Cawlin: “You… you don’t actually know magic. Not yet, at least.” RR: “I don’t? How is that possible? I was just throwing fireballs last night.” Cawlin: “Ahem… yes… you’re welcome for thee assistance.” RR: “Uh… what?” Cawlin: “That fire essence you used last night… I put eet there for you. Eet was just a temporary conduit for your latent magics… You don’t *actually* know how to use magic yet...” RR: "Okay, so what? How do I read this book?" Cawlin: "I don’t know. I’m just a bird, I can’t read!" RR: “So… then this book is useless to both of us.” Cawlin: “Maybe you can find a clue which could help us?” Cawlin flies back onto the left shoulder of the wizard. When the player walks away from the spellbook, it disintegrates in a puff of green particles. RR: “What happened to the book?! Where did it go?” Cawlin: “Oh… amazing! …Eet’s bound to your magical spirit. Eet ees always with you!” RR: “I don’t understand.” Cawlin: “The buch! You can call eet back at any time, and you will never lose eet! Try it now… Just focus on a hand, imagine the book in it, press your fingers inward…” We wait for the player to press the book button on the motion controller. When they do, we spawn the book in that hand in a shower of green magical glitter. Cawlin: “...and poof! There eet is! What an extraordinary book!” The book is turned to the first page, and as we look at it, some of the symbols transform into letters and words. RR: “Well -- I suppose, but again, what use is a book I can’t lose if I can’t read it?” Cawlin: “Well, It’s a magic book, and magic itself is composed of symbols or something like that -- don’t ask me, I’m just a stupid bird -- but I’m sure there’s some way you can figure out how to read those symbols? Yes? Let’s open eet and see what clues we can find!” The wizard opens the book, and on the very first page is a small set of instructions on its use, written in a poetic style: It’s an empty book It stores the spells a wizard learns It has a few left over runes from Sassafras Cawlin: “Oh, dear! The years just haven’t been kind to the pages of parchment. Even magic itself can’t protect its pages from the sands of time forever… Oh, no… oh, woe… it seems, knowledge… it has all been lost. Whatever will I do now?” RR: “Uh… you make less and less sense by the minute. You seem to know more than you’re letting on, so tell me bird, what do you know about magic and this book?” Cawlin: “Ehe. Well. ahem… Magic is just a tool used by mortals -- I mean, men… and eet can be used for evil or good. It just depends on the contents of the heart of the magician. Good magicians, naturally choose good magics, while evil magicians will choose… so called “evil” magics.” (Cawlin says “good” with disgust, and “evil” with affection) RR: “So what? How does that help us?” Cawlin: “One thing you must understand about magic, is that eet is composed of magical words and symbols. Without the proper words of a spell, there simply is no magic! So, men with the talent for magic, would often work very hard to find the proper symbols for magical spells. Sometimes, these… experiments, would go… very wrong! And they’d explode. Or turn into toads. Or become green for a day or two. Either way, playing with unknown magic is… dangerous.” Cawlin: “Once a good sequence of magical words have been found, the magicians would write them down in their spell books. Then, they could say the magic words at any time, and… POOF! The spell would just happen!” RR: “Just like that? It doesn’t sound so bad!” Cawlin: “Well, it’s not quite so easy… There are lots of symbols to choose from, and just as important as the symbol itself, is the color of the symbol! Without the right rrrrecipe, you might be using the right words but never actually working the magic.” RR: “So… magic words, magic orders, magic colors… why does it have to be so complicated?!” Cawlin: *chuckles* “heee heee hee, you’re barely even a novice. Of course it seems difficult for you now, but in the hands of a master magician, magic can be wielded to shape worlds...and… make fooooood. Like… delicious corn! Let us start there -- you haven’t had breakfast yet, have you?” RR: “I was just going to step out of the house to nibble on some delicious tree bark for breakfast…” Cawlin: “You -- with your talent for magic -- have been eating bark this whole time?! Unbelievable! It’s time to change that. Fortunately for you, and my oh, so generous mood this morning, I happen to have found a few symbols of magic.” RR: “What? You’ve been holding out on me. Why didn’t you say so sooner!” Cawlin: “Well, they won’t do you much good unless you know how to scribe them into a proper spell.” RR: “Where do I begin?” Cawlin: “First, we must go forage the forest for ingredients with magical properties. The first thing we’d like to collect, is a red pepper. Let’s go find some.” Rupert and Cawlin go wandering through the forest until they find a red pepper growing on a bush. Cawlin: “There! Right over there! A red pepper!” Rupert picks the red pepper. RR: “Okay, I’ve got the red pepper. Now what?” Cawlin: “The red pepper has the essense of red magic! That’s why it burns your mouth when you eat it. We must extract this magical essence and use it to write your first spell. Let’s go back home.” Rupert and Cawlin return to the mossy tower. Cawlin: “Everything has a bit of magic in eet. It is the job of the alchemist to extract this magic and brew bottles of magical extract. Many mortals don’t rrrrealize what they’re actually doing, but they treat these magical extracts as ‘medicines’, but it’s actually magic at work. A brewed potion has potency, depending on the skill of the alchemist and the ingredients used.” RR: “I’ve never brewed a potion. Where do I begin?” Cawlin: “Well, you don’t really have a prrrrroper alchemist work bench, so we’ll just have to use the most rrrrrrudimentary tools available to extract the magical essence from the red pepper. You must crush the red pepper between some rocks, and you’ll get a little bit of red magic essense. Try it now.” Rupert places the red pepper on a slab of rock and smashes it with a rock. A few seconds later, small vial of red liquid emerges. Cawlin: “You did it! A vial of red magic!” RR: “How do I use this?” Cawlin: “If you drank it, it would burn your mouth and upset your stomach, but we’re going to use it as ink to write magic symbols. Let’s go to your test chamber… Oh... you don’t have one. Well, that table will have to do then...” When Rupert approaches the table: Cawlin: “Fortunately, I happen to know two magical symbols -- ‘Li’ and ‘Tu’. We can write them down on a magical parchment, in any order and with any ink, and if the symbols match a spell, you’ll be able to save it in your magic book and cast it any time.” Cawlin: “To begin, grab a parchment and a quill!” Rupert performs a “use” action on parchment paper. The spell crafting UI pops up on parchment. Cawlin: “You’re barely even a novice, so you can only discover spells with two magical symbols. Later, you can cast much more complicated spells. Let’s begin with novice level magic.” Cawlin: “You don’t have a lot of parchment to work with, so you’ll need to find a spell quickly. To begin, select a symbol slot with your quill…” Rupert places his quill on a slot icon and a dialogue window pops up. Cawlin: “You only have a red magic essence, so choose that as your ink. Then, pick a symbol to write in this slot.” Rupert chooses a symbol (either “Tu” or “Li”) and writes it into the slot. After the symbol has been picked, it is written into the slot. Cawlin: “See? Even a novice can do this! Next symbol!” Rupert repeats the same process for the second symbol. RR: “Now, I’ve got two red symbols written down. Now what?” Cawlin: “Now, you try to cast these words! It’s already in your hand, so just give it a throw and see what happens…. I will just fly over here… and stay well out of the way...” Rupert throws the current magic spell. It either creates a magic spell (if correct), fizzles out, or creates a magical disaster. (Let’s assume it fizzles out) RR: “What? Nothing happened!” Cawlin: “You’re spell fizzled. Consider yourself lucky! That combination of symbols and ink was not a spell, let’s try again.” Rupert uses the parchment again. Cawlin: “This parchment is magical! As you can see, you got the right symbols and right color, but in the wrong order. Now, we can try a different sequence.” Rupert keeps trying out different symbols, until he writes out “Tu-Li” in red ink. When he gets this sequence: Cawlin: “You did it! You created your first spell! This is so exciting… I remember now! Tu-Li is fire, but your TuLi is very weak because you used a red ink with low magical potency. However, this spell is now saved in your spell book!” RR: “So, I can fling these little fire darts at any time now?” Cawlin: “Yes… you’ve begun the journey of a magician! You can find more symbols to discover other spells, and brew more potent potions to create stronger spells.” RR: “Wait a minute… my essence of red magic is gone! Did you steal it from me?!” Cawlin: “Relax yourself, Rupert! Whether you fail or discover a spell, the used ink is consumed. Magicians are always scavenging for ingredients to brew -- you magicians are scavengers, just like me!” RR: “Now what?” Cawlin: “Well, I must go. I smell a dead racoon down by the lake, and I’m absolutely starving. As for you? I saw an abandoned ruin this morning, but it was too dark and scary for me. Maybe your fire could shed some light on the situation? Or perhaps, you can find other ingredients?” RR: “You’re leaving me?!” Cawlin: “I’m getting rather...peckish. I’ll be back... Muahahaha!” Cawlin flies away and the wizard is left alone. There’s not much to do, other than hunt for ingredients or check out the abandoned ruin. At this point, we spawn clovers, blueberries, red peppers, orchids, and black lotus flowers. These are collectible ingredients which can be ground up and turned into vials. We also unlock the ancient ruins and make it accessible. Within the ruins is a new magic symbol which can be learned and a mortar and pestle. The player can summon a small flame to light their way through the darkness. There is a section of the ruin which is sealed off with a heavy door and some other strange symbols of magic. When the player emerges from the ancient ruin, the day has turned to evening. RR: “Wow, it’s evening already?” RR: “It’s getting late, I’d better get home before the forest monsters come out!” When it’s dark, we start playing large monster noises in the distant forest, mixed with snorting noises (like a sniffing pig), and something large crashing through undergrowth. RR: “There’s something out there… it’s hunting me!” Rupert returns to his wizard house. He’s tired and ready for bed. RR: “Whew, safely home at last. I need to get some sleep.” We wait for Rupert to go to sleep OR until it is 2AM in game time. Either way, we fade to black and we begin to hear snoring noises.
  24. Here we are at another milestone in the 100 days of VR challenge! Day 40! Who would have known that I would have made it to this point? We’ve come a long way, we learned a bit about Unity, made a simple game, and now here we are working in VR! Yesterday we finished fixing most of the technical problems involved with porting our game to VR. Well, turns out, I lied, there are a couple more things I’d like to fix today along with working a bit on the UI. For some reason, our camera is lower than we set it Enemies are literally running into us when trying to hit us Get our UI to show up again Step 1: Changing Our Camera Starting Position When we play the game on Unity, we have an interesting problem with our camera position being changed. We set our camera position to be 1.5 at Y: However, what’s interesting is that when we play the game on the Android platform, our camera position gets set to 0: After debugging around, I found the cause. Our GvrEditorEmulator prefab forces our Main Camera to be set to the position: 0, 0, 0. While technically, we don’t need the prefab, it is convenient, so we’ll keep it in. Instead, I’ve found a different solution. While our camera is forced to be a set position, we can child our camera to another game object and then change the position of the parent game object. Coincidentally, we’re already doing that with our Player game object. All we have to do is raise our Player Y position up by the amount of the camera. Select Player, change the Y position from 1 before to 1.5 (Optional) Go to the Main Camera and change the Y position to 0 Now when we play the game, we’ll have a much better height when playing: Step 2: Stopping Enemies from Going Inside the Player Next problem, the enemies are literally running into us. See: There could be many things that are causing the problem, but I decided to look at the Nav Mesh Agent attach to each of the enemy prefabs, because there are options that control how close the enemy would get to their target: After playing around with the settings I got the enemies to stop right in front of us: Stopping Distance: 1.25 Auto Braking: Disable Radius: 1.25 Here are our new settings: With these new settings in, here’s a bit of our gameplay now: Isn’t it nice that they’re beating us from the outside and not the inside? No? Oh well… Step 3: Getting the UI to Show Up Again Now that we have all the technical problems resolved (promise this time!), it’s time for us to go back and look at how we can get the UI to show up for our game. This is going to be an annoying problem to solve because the problem only occurs on our Android device and not anywhere else. Which means there will be A… lot… of… building… Luckily for you, I’ve gone through the torture of re-building multiple of time so the rest of us don’t have to! It turns out that getting the UI to show up isn’t too bad! It turns out that if we have VR mode enabled in Unity, any UI we have on our Android device will NOT be available unless the canvas the UI is set with is set to World Space. Here’s what it looks like on my phone when I disabled the VR options in Player Settings and just have normal Android app: According to Unity’s quick guide for VR UI, and for extra credit, this article about UI expectations for the player, UI in VR must be run in World Space. The biggest key takeaway I got from these 2 articles is that you should NEVER have the UI on your player’s screen, like how we’ve been doing it. This could cause motion sickness. Specifically, we want to use Diegetic UI, where the UI is attached to a game object in the game world as opposed to an overlay on top of our screen. Instead of having it float around or statically placed would be the better way to go. Step 3.1: Getting the UI to show up Anyways, to fix our problem and have our UI show up when VR is enabled, we must set our Canvas to be displayed in World Space. Select HUD in our hierarchy. In the Canvas Component, change Render Mode from Screen Space – Overlay to World Space There are 3 options available to use, here’s the canvas documentation to explain what they are, but for a quick summary of the available render modes: Screen Space – Overlay: The UI is rendered on top of the scene Screen Space – Camera: The UI has put a certain distance from the Camera. It’s very similar to the Overlay, except certain changes to the camera could also cause changes to the UI. An example would be Perspective Camera would render the UI differently from an Orthogonal Camera World Space: The UI Canvas will act like a game object that just hangs somewhere in the game world for us to see. Also, this is the only option we can use for our UI Here’s what our game looks like now with the World Space: Now we need to make some adjustments with our UI. Step 3.2: Figuring out where to put the UI The biggest question now at this point is, where should we put our UI elements? While there isn’t a clear answer, I think our best option might be to attach the UI to be our weapon. On the Google Cardboard, this would be the equivalent of having it right in our face, but if we were to switch to use the Daydream Viewer, we would be able to move it independently of our gaze. With the decision being made, let’s go and see how we can attach our health and time UI to our gun! Step 3.3: Putting Our UI Into World Space We already have an existing HUD canvas game object in our game. We’re going to repurpose that for our game, however, because we have more than just our UI on the canvas (the Victory and Game Over panels), I’m going to duplicate our HUD On HUD in our game hierarchy, hit Ctrl + D to duplicate it. Rename the duplicated HUD (1) to be called GunUICanvas Delete the Victory, Game Over, and Ammo UI child objects Make the GunUICanvas a child of MachineGun_01 When we’re done, here’s what your hierarchy should look like. Next up, we’re going to change the settings of our GunUICanvas so that it would be right in front of our gun on the right side: Select GunUICanvas In the Canvas component, the Render Mode should already be World Space, if not, change it In the Rect Transform component, I’ve played around with the settings and changed our position to be (-0.15, 0.22, -0.14), our Width to be 480, and our Height to be 80. Set Scale to be (0.001, 0.001, 0.001), we want our UI to be small enough to fit in our screen (Optional) Remove the Screen Manager Script Here’s what we should have: Next, I’m going to change the Anchor Presets for our Score UI game object to be in the bottom middle of our screen. Select Score In the Rect Transform component, open our Anchor Presets and hit Alt + Shift and select bottom center preset Now with the width changes of our Canvas and making our Score at the bottom, we should have something like this for our game. If we play the game in our VR device, I don’t think there will be any discomfort. The UI is positioned on the gun and since we’re focused on the cursor in the center, it’s not in our focus. Step 3.4: Connecting the UI Elements to the Rest of our Scripts Now that we have our GunUICanvas looking nice, the last thing that we need to do is re-connect all the UI elements to our scripts that use them, so our UI can get updated as we play. We need to update our: Time Text Health Slider Do you remember which scripts used these UI? No? Don’t worry I do! In GameManager, in the Score Manager script, drag our Score UI into the Score slot In Player, in the Player Health script, drag our Health Bar slider into the Health Bar slot Once we add our new UI components, our code will update the UI correctly! Conclusion And that completes Day 40! Today we looked at fixing our last technical problems with the camera height and getting the enemies to attack us at a more appropriate distance. However, the main topic of today was adding our UI back in. It turns out that with Unity VR enabled, the only Canvas we can use is World Space. Once we have made that change we can see our UI again. With our new UI, we attached it to our gun and I think we made a good solution to provide relevant UI information to the player all without causing nausea. Tomorrow, we’re going to continue working with the UI. Specifically, we’re going to add the game end states back into the game, so we can keep playing it without starting a new app instance. Day 39 | 100 Days of VR | Day 41 Home
  25. Can my PC handle a VR upgrade?

    I recently got a 600 euro gift card for Amazon. And I like messing around with VR. I played some games, and I program hobby VR games in my spare time on mobile.I saw that my 5 year old CPU meets the specs for the Oculus rift. However my current graphics card does not. I see that in Europe, I can get an "Oculus touch bundle" for 400 euros. And an Nvidia 1060(3GB) for another 200 euros. (coincidentally this is the same sum of my gift certificate) The two possible problems: I only have 4GB of RAM (I don't think this will be a big deal, maybe just some more loading times) I am not sure my power supply can support a 1060 (I am not sure what the different WATTages that are printed on it mean ) Here is a photo of my power supply's spec: https://ibb.co/eaOOOR It was pretty basic even 6 years ago. Is it good enough to run a 1060? (I can only find a link for the 6GB model: https://www.geforce.co.uk/hardware/desktop-gpus/geforce-gtx-1060/specifications) I am not interested in going through the trouble of replacing my power supply, and I do not want to spend more than 600 euros on this entire endavour. And another question: Assuming I want to spend this money on VR, is there a better platform to spend this sum on? I was going to wait for the Vive focus (I don't liike cables), but it looks like it's going to be a dud (only in china, no real ecosystem). Facebook's claim of releasing a wireless rift for 200$ seem dubious to me. And since that price sounds like they are selling at a loss, there is no chance it will reach Europe for that price on official channels.
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