Video games never stop changing, and we wouldn't have it any other way. Evolve explores everything that is new or cutting edge in game development across all disciplines - from new technologies and new trends to new business models. Plus there's some crystal ball gazing and debate on how to create the best new game experiences for the next decade. Evolve sessions are now included within the main conference programme across Tuesday, Wednesday and Thursday.
Richard describes his experience making a 360/VR music video for UK D&B star Harry Shotta and his track 'Virtual Insanity'. Over the course of 18months learning 360 shooting, motion capture, 360 post-production and working with Unity and VR legend OliVR. What did he make? What were the lessons learned? How can Gamedevs and Filmmakers collaborate effectively? A newbies journey to the Immersive Frontier.
ArtyFax, designed as a term-long school project, turns research about local heritage sites into AR location-based games that are played on smartphones at the sites. During the project children create a story based on a historical character associated with the site and turn it into a series of videos. Each video is assigned to a specific location at the site. Children also make a model of a building or structure that would have been found at the site and turn this into a digital 3D representation using a process known as photogrammetry (you take photos of the model from all angles and software makes it AR ready). When playing the game, the user follows a trail to locations in sequence, triggering the playing of the videos (and thus telling the story). A projection of the model will be seen in AR when all the videos have been played. In the session I will be discussing how ARtyFax was conceived during a Design Sprint and how it has developed since then.
In this session I’ll share some of the findings of my research in how machine learning can be applied in games and how this can heighten positive aspects in the player-computer interaction. There is an increasing trend of incorporating a diverse variety of sensors into videogame systems, ranging from game controllers to current VR/AR kits, yet there are no standard practices how to design sensor-based control schemes. Interactive machine learning (IML) is a novel interaction paradigm that involves users to iteratively build machine learning models. IML has been successfully used to allow designers and end users to fine-tune or even design wholly personal control schemes for interactive music and other applications. Could these techniques be used in games development? The research and technology presented in this session explores how using interactive machine learning in the design of sensor-based control schemes of digital games can improve the player experience and how simple it can be to use. This technology can be used to quickly prototype controls by directly showing human actions and computer responses without writing code! Players or designers may use interactive machine learning to design enjoyable control schemes for themselves and create unexpected playful interactions. I will run through specific tools and examples with Unity 3D that we researched and developed with the help of a Google grant and presented at the GDC 2019 AI track. No matter your background, all code and examples will be open sourced for you to explore after the session!
Virtual Reality is finally finding its feet, but not in the home as originally expected, in the Location Based Entertainment (LBE) market. Every week new VR Arcades spring up whose appeal lies in eliminating the cost and complexity of setting up a good VR system at home. But is it enough to take content that’s available to home users and charge a pay-per-play or pay-per-hour ticket price? Perhaps the future of LBE VR lies in a more ambitious vision: to deliver a truly ‘never-at-home’ experience that includes touch, smell, freedom of movement and a social, shareable experience. That is the promise of Hyper Reality. So far, this high-end category of LBE VR has been the terrain of well-funded US companies like The VOID, Dreamscape Immersive, Nomadic VR and Spaces Inc. Alongside these more tactile offerings sit the arena-scale shooters by companies like pioneering Australians Zero Latency. So why does the UK, with its wealth of talent and experience in real-time production, not have a player in this list? Perhaps that is all about to change. Is LBE really the saviour of this latest phase of virtual reality? How committed are the manufacturers after the disappointment of these first few years? Can LBE VR stay ahead of the curve as home adoption slowly rises? Can it drive adoption of VR in the home? Can the promise of 'never-at-home' experiences be sustainable? And where does Hyper Reality fit into an ambitious future that includes the rebirth of arcade culture in the UK?
Training is an expensive business and is especially so for those in frontline emergency services. Because of the nature of their work, training in the real-world is essential but can become very costly, time consuming and with a varying level of quality. So what can we do as game developers to keep the quality of training high but the cost low? The answer: Virtual Reality. Over the course of 12 months we have created a Virtual Reality training platform for different emergency services. It allows individuals to train in several service roles (Police, Forensic, Fire) and to current training curriculum levels using tools that are common in game development. This presentation will use the project as a case study to explain how we adopted emerging technology, built our scenarios and tested them to compliment current training methods.
There is an increasing number of citizen science games. These games not only carry educational values, they also help solve various scientific problems, from finding ways to build a quantum computer to building diagnosis tool to detect dementia. In this talk, we will identify scientific problems that can be better solved by games, we will look a the different ways they can be integrated into existing games and we will review a few design challenges they pose.
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Ian Livingstone, CBE
There really is a huge mix of people at Develop - loads of peers that you can learn from and the perfect blend of every element of game development as well.
By coming to Develop what you get is the opportunity to network like you can’t in any other situation. Everyone knows everyone and it’s such a wonderful community feel.
Develop:Brighton’s a great conference. It’s got a spread of people from all parts of the games industry talking about such a wide range of topics.
There’s really something for everyone at Develop and the experience of being around like-minded people is really useful.
I’ve been to every single Develop in the last 12 years. One thing you get here is networking - you will meet the most amazing individuals in the video games industry.
There’s something creative about Brighton, so it’s the perfect place to have the conference.
If you really want to have a good interface with the British game developer community then this is the place to come.
I really like Develop, I really like the intimacy of it and I love the location.. there’s a good diversity of talks going on so there hasn’t been a time when there’s nothing I want to see.
Develop is an excellent way of catching up with people – there’s a really nice community feel here.
Mike Bithell Games
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