Now here's a clever (but complicated) way to get your kid excited to finish their homework: build them a mission control center under their desk. At least, that's what this man--who is clearly gunning for some sort of father of the year award--did.
O2 has created a new Oculus Rift programme that lets users of the virtual reality headset train with the England Rugby team.
looks like a very immersive experience! great use of the technology from what I see. There is always the frustration of not actually moving while "playing". This is the main drawback for me. Not everybody will integrate a treadmill in their setting!
Globe4D is an interactive installation for immersive globe viewing. It allows people to learn and communicate about different phenomena on earth and other planets and see how these have changed over time.
Interactive visualizations on a physical sphere can be turned and viewed from all angles. Topics range from continental drift to changing seasons and from natural disasters to airplane routes.
Gackenbach noted that some heavy gamers seem to be non-plussed by dreams that would qualify as nightmares — namely, those that present frightening or threatening situations. In fact, gamers seem to readily take control over (and even enjoy) such unpleasant nighttime illusions.
Interesting point on an unexpected effect of hardcore gaming... Nightmares, come and get some!
Transmedia storytelling usually ends up in the shape of alternate reality games, which all-too-often become scheduled, passive on-rales experiences for the user. How can content creators make it more meaningful?
great point made about ARG being way too passive and scripted when real life and location based events could be enriched by the player's experience.
For pictures with a dense amount of information on them, such as infographics, it’s important not just to resize a smaller version of a big image, but to load in a completely different image that’s best for that screen.
The BBC pushes the envelope of storytelling, facing the hard fact that viewers experience content through many media now. With more and more of these media being mobile one, the design has to adapt to new requirements.
Twitch released a new report running down all of its growth statistics for 2013 (view it now). Twitch VP of marketing Matthew DiPietro spoke with Game Informer about the report, PlayStation 4 and Xbox One integration, combating streams that violate terms of service, and goals for the year ahead
"The snapshot feature of Grand Theft Auto V isn't just for taking selfies on the top of the Maze Bank. Some have used it to create gorgeous landscapes, and this gamer has taken it upon himself to be the "combat photographer" of Los Santos." I love this kind of people extending the field of "entertainment" and multiplayer interaction you can get out of a game.
I wouldn’t want to undo the last few years. I like who I am now, and I like where my life is headed. I’m not asking to turn back the clock. It’s just sometimes I wish I could preserve those carefree nights around a kitchen table in some kind of pocket universe, slip comfortably out of my “adult” life for a few hours and return to a time when all that mattered was my friends and I and the next roll of the die.
Here is a beautiful article expressing all I think about this game and what makes it special. It nails it. By playing the game, you write memories down, so play it with the same folks until completion and you'll have achieved something - an ode to friendship.
Two episodes into the series, True Detective dropped a reference to one of the strangest, most compelling tales in the canon of weird fiction: Robert W. Chambers' The King in Yellow, a collection of short stories published in 1895. Knowing this book is key to understanding the dark mystery at the heart of this series.
"This collection of stories has influenced writers from H.P. Lovecraft and Raymond Chandler, to Robert Heinlein, Grant Morrison, Neil Gaiman and George R. R. Martin. The King in Yellow and his legendary city of Carcosa may be the most famous character and setting you've never heard of."
Web-based video projects are blowing the lid off the traditional, linear form of storytelling. Interactive documentaries such as Pine Point and 17,000 Islands make a tangible connection between the content and the audience, turning viewers into participants.
"Hollow", an interactive web-based documentary that examines rural life in America through the keyhole of impoverished McDowell County, West Virginia, is a poster child for this story form because of the risks it took with technology and narrative.
Welcome to the Catanosphere! Do you want to make a great centerpiece for your board game sessions? Do you ever look at the surface of your game table and think it's a little plane? Do you love Settlers of Catan, but sometimes wish it could be a bit less Euclidean? Then wrap your head around this...
very creative re-design that could inspire way beyond Settlers of Catan
We've talked about the Outerra engine a few times here on Kotaku, and every time we do, someone invariably asks "but what is this actually for"? Well, here's one application: it's great for making a 1:1 recreation of Middle Earth.
"It’s not unlike the rig built by Autodesk to show their 123D Capture software, save for the next step: instead of a fixed 3D render, the output gets assigned to a wireframe that generates the controllable articulation, allowing your digital character to mimic human movement — running, jumping, and even breakdancing becomes a snap."
Sherlock fans will now be able to download an interactive app from the show, giving them previously unseen footage of Benedict Cumberbatch and Martin Freeman.
I'd like to see in what extent they balance additionnal storytelling "exclusive footage" with more dynamic quests. Is there an added value to experience WHILE watching the show or is it a wait-for-next-season kind of app/content.
Gamasutra's Kris Ligman speaks with Telltale Games' Kevin Bruner, Ryan Kaufman and Pierre Shorette on what it takes to be the 'Pixar' of game studios.
The TellTale recipe! great interview.
"A lot of the things we have the player do in these games are things you imagine yourself doing: standing up to the bully, or running headlong into danger to protect someone. That might not be who you are in real life -- I'm probably not that person -- but you might think a lot about being that person.
Kaufman: And when you're interacting with those characters in the moment to moment, if they seem real enough to you, you care about how they're going to react to you. You care about whether or not they're going to accept you, or that they're upset or whatever.
That's essentially where we generate the building blocks of creating empathy for an episode or over a season. You get enough of those little moments, of getting the player to push a button and say 'this is what I think about what needs to happen here' or 'this is what I'm risking,' then you're generating empathy. That's the gameplay."