Voiceofvr

《声音VR播客》是一个关于未来空间计算中沉浸式叙事结构和形式的讨论的播客节目。肯特·拜在威尼斯沉浸展2024中探索了不同的沉浸式故事，包括《在里普利的领域》、《关于李老师我所知的一切》和《玉山守护者》。 《在里普利的领域》是一部由互动电影和VR体验组成的作品，讲述了一个调查谋杀案的故事。观众可以做出选择，并在观看过程中面临道德困境。肯特对作品的互动设计和移动方式有一些问题，并建议将对话设计得更加流畅。 《关于李老师我所知的一切》是一部匿名人士创作的作品，讲述了中国学生李老师在意大利举行的一场反对COVID封锁的抗议活动。肯特通过与创作者的面对面对话和AI技术，探讨了作品背后的故事。 《玉山守护者》是一部由Interspace VR团队制作的作品，带领观众探索台湾的殖民历史。肯特对作品的音乐与视觉的结合感到非常震撼，同时提到了一些制作决策上的权衡。 总的来说，肯特对这些作品所表达的沉浸式叙事和互动体验的可能性感到兴奋，但也指出了一些改进的空间。他认为在未来，沉浸式媒体将与不同学科的语言相结合，创造出更加综合和丰富的叙事形式。

"Good day, everyone. I'm Kent Bye, and welcome to the Voices of VR podcast. In today's episode, we'll be exploring the different immersive stories of the Venice 2024 event. We'll be taking a look at a piece called 'Project Lost Worlds,' created by Fins. It's a VR Chat world episode and part of the competition. Last year, I interviewed Fins about his 'Complex 7,' and he is an exceptional world builder, creating stunning environments and beautiful lighting effects. This year's work might be his most ambitious project yet, taking you on a space journey to another world where you'll discover and observe various dinosaurs. The project is still in the early stages, but it gives us a glimpse of Fins' unique blend of interstellar travel, space exploration, and fused inspirations from films like 'Interstellar,' 'Avatar,' and 'Jurassic Park.' That's it for today's episode of Voices of AR. This interview with Fins took place on September 1, 2024. Let's get started." "Hello, I'm Fins, a world builder and 3D artist on VRChat." "Okay, please tell us more about your background and how you got started in virtual reality work." "Yes, I started as a concept artist and 2D illustrator, doing illustration work for about 5 to 6 years. Then I did concept art for about 3 years, and before joining VRChat, I was doing concept art for video games and movies. If they needed a concept art or a storyboard, I would draw it for them, and then they would turn it into a 3D model. But about 5 and a half years ago, almost 6 years, I saw a YouTube video about VR Chat. I got interested, downloaded the app, and about 6 or 7 months later, I made my first world. Since then, six years have passed, and now I work as a 3D artist on VRChat, creating various experiences within the world. That's my journey." "Okay, so this was around 2018 or 2019, during the time of the Knuckles, or was there another reason you got into VRChat? What did you see on YouTube?" "It was actually something different, although Knuckles did play a role. It was a series of videos made by Gemski, called 'Ollie and VRChat' or something similar. I saw a clip of it where he was playing in a fantasy world, but as I observed closely, I realized that it was a user-created world and character. This had been a hobby of mine since my younger days. I enjoyed creating custom maps, playing simulation games, cooking games, and even making custom maps for 'StarCraft.' And now you could achieve that in a multiplayer online real-time game. It was mind-blowing for me, so I joined VRChat." "I know most people, after joining VRChat, would explore other worlds and then gradually start building their own. So, before you started building, what communities or other worlds did you see that made you want to start building your own? Did you start building right away, or can you give a brief description of what it was like when you first joined VRChat?" "At first, I was very shy and introverted. I would often wander around public worlds, see what others were doing, and just be a background presence, hoping to have a small conversation or two. But the more I saw, the more inspired I became to try it. Especially in the early days of VRChat, there was a place called the 'Scientific Laser World.' They had an activity there called 'Archery,' where there was a small flyer on the ground that said, 'Hi, want to build your own world?' I don't remember the specifics, but it made me think, 'Okay, it's time to actually invest some time and try it.' So, as a concept artist, were your works mainly 2D, or did you involve 3D modeling? Can you talk about your previous media creation and practice and how you gradually started getting into 3D modeling and building? As a concept artist, we are trained to use the best way to achieve the final result. Even if it involves 3D, yes, it involves 3D, but not to the extent of what I do now as a 3D artist. You could combine some cubes in Blender, add rough shapes, and then sketch on it. This way, you could get results faster without having to worry about horizon lines, perspective, and so on. So, 3D was a part of it, but not as prominent as what I do now as a 3D artist." "So, what was your first creation in terms of a world? What was it called, and how big was it? It was called 'Shark Cafe,' based on my name Fins. I've always been fascinated by everything related to sharks. I saw a post on Reddit asking if there was a rainy scene world where you could sit down and relax while watching the rain. At that time, I realized that such a world didn't exist, so I made the cafe. I found a shader on shadertoy.com that made raindrops fall on the windows and affect the environment around them. This shader was the first time it was used in VRChat. People would come to the cafe and just sit there, watching the rain. It became a cozy place for everyone, and now there are many worlds playing rain sounds and people staying there. So, it became sort of a trope in public worlds." "As a concept artist, you usually work with clients or other individuals who have very specific ideas. So, when you started building your own world in VRChat, how did you get feedback and let others see your work? And what happened from that point on?" "For a concept artist, of course, you have to look at source materials or other ideas and translate them into 2D images, hoping to align with the vision. If it doesn't align, then you need to make revisions. But for my own creations, I usually already have a specific idea in mind. For me, I can usually skip the step of having to draw it out because I have the concept already in my head. As a concept artist and studio artist, I’ve developed a sense of direction throughout the development process and can plan ahead for my personal projects without having to do those things from the beginning. I found that many people actually struggle with that. They have a rough idea but don't understand how to visualize or execute it or how things work. Whereas, for me, that's where being a 2D concept artist comes in handy. I can achieve more of what's in my head by utilizing my previous experience as a concept artist." "Okay, so that means you don't do any sketches when creating, you just jump right into the 3D modeling program and create and put it in VR? Or is there a special process in planning or sketching?" "Sometimes there are some sketches, but I do have some concept art of my works that I haven't made public yet. I haven't shared them. In cases where I need specific compositions, I have concept art that you could call 'hero art.' Basically, you don't need to complete the whole picture; you just need to have key color palettes, themes, atmospheres, lighting, and so on. I hope that can serve as a reference for future development. But for me, when it comes to conceptualizing, it's usually achieved through the so-called 'white boxing,' where you put together some white boxes and gradually build the environment using real assets. It's similar to early concept art to some extent, just not painting on top of it, but putting 3D models on top of it." "Did you add any textures to these white boxes, or was it just placing some cubes in space to get a sense of the overall spatial structure?" "Many times, they do have textures, but it's mostly just colors. I would do lighting for them, and then they would have the feel of real assets." "Okay, so you work a lot with lighting. I know from our previous conversation about your other works like 'Complex 7,' you used some advanced lighting techniques and tricks to create incredible lighting in virtual worlds. If you look back from 'Complex 7' to your latest work, 'Lost Worlds,' over the past 5 to 6 years, what milestones or turning points would you point out in terms of the development and evolution of your focus or artistic practice?" "I would say the first turning point was 'Moody'; that's one of the things I'm most proud of in terms of complexity. It was also one of my first flagship projects on VRChat, where you could click a button and switch between different environments, day and night, and different weather effects. Each scene had different customization options, and I'm very proud of that. It was the first time I gained attention on VRChat. Technically, I learned a lot about triggers, how to use the SDK, and more. And then, years later, there was 'Magic Haze'—that was a project that opened the door to those large, complex worlds of the rideable type, more like Disney or Universal Park types. It was a bigger and more complex world." "Since you made your first world, how many worlds have you made? Between your first world and the one you showcased at Fins immersive 2024 with 'Project Lost Worlds,' how many worlds have you created?" "About 30 to 40, but privately, I've done more. Currently, there are only around 35 publicly available. Privately, I've done about 70 in total. These works were just for doodling or other client projects. They're either personal testings, lighting testings, or scene testings, even a full world that's usable but doesn't have a specific purpose, so I don't consider them 'fit for public release.' When these works don't meet the standards for public release, no matter how advanced they are, I won't release them." "So, you've created around 100 worlds in the past 5 to 6 years, averaging about 20 or less per year. That sounds like a bit faster pace than the average of one per month over the past 5 years. So, considering your journey as a world builder over the past 5 to 6 years, are there any milestones or turning points you could point out on your timeline to illustrate the focus or development of your artistic practice?" "I would say the first turning point was 'Moody.' It's one of the things I'm most proud of in terms of complexity. It was my first major project on VRChat that allowed you to switch environments, day and night, and weather effects using a button. Each scene had different customization options. Technically, I learned a lot about triggers, how to use the SDK, and more. And then, years later, there was 'Magic Haze,' which opened the door to those large, complex worlds of the rideable type, like a theme park adventure game. And just like 'Complex 7 Lite,' there were a lot of things that you could make your own story with, figuring out what happened文章讲述了关于"Project Lost Worlds"的访谈内容。"Project Lost Worlds"是一款VR游戏，作为VRChat的一部分，旨在为用户提供沉浸式的体验和社交互动。游戏的制作者表示，他们通过创造一个真实而令人惊叹的虚拟世界来为用户提供一种新的探索和体验方式。游戏中的场景和角色设计精美逼真，让用户仿佛真的身临其境。他们还计划在未来将更多的互动元素和角色引入游戏中，以丰富用户体验。对于VR技术的未来潜力，制作者表示虚拟现实可以成为一个创造、表达和连接用户的空间，给人们带来更多欢乐和机会。他们还强调了对艺术家的支持和激励，希望能够帮助更多的创作者在虚拟现实领域实现自我经济支持。整体而言，制作者对虚拟现实的发展和社区的积极成长感到乐观。

Voices of VR是一个播客，探讨沉浸式叙事结构和形式以及空间计算未来的主题。在这期节目中，主持人肯特·拜与威尼斯沉浸屏幕展示的世界画廊制作者迈克·萨曼进行了对话。他们讨论了展示不同VRChat世界的演变以及迈克在勘察世界时的经历。他们逐个讨论了入选作品，并分享了一些见解。他们还提到了一些在威尼斯沉浸屏幕展览中展示的作品，包括绘画、音乐可视化和交互式作品。他们还讨论了如何组织参观活动以及如何在展览中将不同作品组合在一起。整个讨论重点放在作品本身，而不是讨论沉浸式技术或XR产业的具体细节。今年的威尼斯沉浸展带来了许多令人兴奋的沉浸式体验。其中一部分是在VRChat平台上展示的，这使得人们可以与其他参与者进行互动和社交。其中一个作品是Suku，它融合了加勒比海的嘉年华岛和荷兰殖民历史，具有吉卜力工作室的美学和超现实的氛围。另一个作品是Tripp制作的全景俯瞰效应体验，通过再现宇航员从地球之外看到地球的情景，引发人们对人类社会联系的思考。VRChat在威尼斯沉浸展上扮演了重要的角色，为许多作品提供了互动和社交的平台。VRChat几乎成为了VR创作的YouTube，让人们可以创建作品并与其他人共享体验。这种社交和共同体验的特点也使VRChat成为了一个独特的文化和社区，许多人对其痴迷。此外，今年还有许多其他引人注目的作品和实验，显示出虚拟现实、世界构建和沉浸式艺术的巨大潜力，特别是它们可以在社交、互动和创作方面带来的影响和连接性。

沉浸式叙事与形式的关注以及空间计算未来。通过patreon.com/voicesofvr提供支持。这次节目将介绍威尼斯沉浸式展中的作品《Uncanny Alley: A New Day》。该作品由Metarek开发的VR聊天室《Uncanny Alley》基础上扩展而成。Ferryman Collective的成员对该作品产生了兴趣，并希望在虚拟世界中建立一个沉浸式旅程，一个逃脱极权主义公司掌控的虚拟空间的旅程。在《Uncanny Alley》中，观众将被带入一个舞台背景中的故事，通过在不同地点间穿越来发现故事的推进。该作品的设计融合了沉浸剧院、VR聊天室和与Quest兼容的VR世界，构建出一个真实世界的感觉。Rick Truic（Metairic）在设计和建造过程中考虑了Quest兼容性的问题，并通过添加效果和闪光来增强观众体验。整个作品的构建过程充满了挑战，需要平衡故事的线性进展与观众参与互动的自由度。团队还讨论了如何管理不同观众的性格组合和调整要求，以及既有即兴的窗口又保持故事模式的平衡。该作品绝大部分内容是全新的，只有少数角色和概念从《Uncanny Alley》中延续，并针对Quest的兼容性进行了重新设计与建模。整个作品呈现出一种极权主义与逃脱的主题，并在故事推进过程中引发了观众对自由意志和权力动态的思考。幽谷之巷是一个通过VR聊天交互来展现故事的沉浸式剧场作品。故事背景设定在一个名为Ghost的公司掌控的集会上，他们希望通过投票引入一些改变。在这个故事中，观众扮演地下抵抗运动的一员，协助Ghost建立新的虚拟世界。故事中存在一些悬念和未解之谜，观众需要通过参与剧情来逐渐揭示故事的背后深层含义。故事中的幽谷之巷被视为对当前元宇宙概念的一种评论，强调了构建新的虚拟世界的必要性。该作品展示了VR聊天和传统艺术的结合，为观众提供了沉浸式的叙事体验。作者认为沉浸式虚拟现实叙事的潜力巨大，可以帮助人们更好地欣赏生活和人际关系的深度，具有治疗和心灵的益处。他们希望能够吸引更多的观众参与其中，推动该领域的发展和探索。最后，预计该剧场作品将进行付费展演并在大学和教育领域展示。

这是Ken Bye主持的播客节目《The Voices of VR》的一集，他在这一集中采访了电影制片人Lilian Hers，探讨了她的作品《杜象那平那奥》的背景和意图。《杜象那平那奥》是一部沉浸式体验作品，通过让观众爬楼梯并与虚拟楼梯互动，传达女权主义元素和对身体运动的思考。该作品的声音设计非常重要，通过木材和金属等材料制作的Foley声音创造了层次丰富的氛围。在这个访谈中，他们讨论了作品的意图、声音设计以及观众的体验等方面。这个作品在人们中的反响不一，有些人喜欢它的开放性，而有些人可能会感到沮丧。总的来说，该作品提供了一个让人思考身体与运动关系的空间，激发了不同观众的不同解读。该节目结束时，主持人也表达了对沉浸式媒体的潜力和未来发展方向的兴趣。

《声音的实境VR》播客是一个关注未来空间计算中沉浸式叙事结构和形式的节目。在这期节目中，导演讲解了他的作品《邂逅》的设计意图和创作过程。这是一个试图通过使用象征逻辑来讲故事的社交虚拟现实实验。尽管观众之间的互动是稀疏的，但整个作品的架构和语言都是饱和的。导演希望通过这种饱和感和沉浸式体验引发观众的思考和共鸣。他表示，沉浸式叙事的最终潜力是在现场演出、戏剧、舞蹈、游戏、社交、教育、健康等领域中发掘，为观众提供高质量的体验并促进观众之间的交流。导演提到了在观众测试中得到的积极反馈，表示人们对于这种新型语言的接受度和参与度都很高。最后，导演鼓励沉浸社区多样化发展，为公众提供更广泛的体验机会。

VR播客《声音的世界》的主持人肯特·拜在本期节目中与日本恐怖项目《项目Y》的开发团队进行了对话。《项目Y》是一款交互型恐怖游戏，使用360度视频让玩家扮演侦探，追踪不同的鬼故事并找到相关证据。讨论中提到了制作过程中的挑战，例如将机械师与360度视频结合以及声音的运用。团队成员分享了他们在虚拟现实领域的工作经验和对虚拟现实未来发展的看法。他们希望通过改善技术和创新思维，能够制作出更好的游戏，并强调了创作者之间的交流和分享。听众可以通过发送电子邮件与他们进行讨论和提问。主持人感谢团队的参与，并鼓励听众通过Patreon支持他的播客。 以上为VR播客《声音的世界》的主要内容，其中介绍了日本恐怖游戏项目《项目Y》以及相关开发团队的讨论和思考。

该节目是Voices of VR播客的一期节目，重点讨论了一部名为《无固定地址：福岛现状》的纪录片，这是一部使用了点云技术的纪录片，展示了福岛附近的废弃鬼城。该作品通过对点云呈现的三维扫描穿越不同的城镇风景，让不同的居民分享了福岛灾难后失去的一些记忆。制片人通过摄影测量和点云渲染捕捉了这些空间的信息，并调节其细节和色彩以表达记忆和情感。作品的叙事结构跟随当地居民的回忆和故事进行，聚焦不同的章节和场景。该作品在2024年威尼斯沉浸展上首次亮相，展示了沉浸式叙事与回忆、文化以及社区之间的联系。未来，制作方计划继续探索核能对不同文化和社区的影响，并拓展作品的范围和潜力。整体而言，沉浸式叙事具有巨大的潜力，能够触发观众的共鸣，通过更生动、情感化的体验方式来表达故事和记忆。

《Voices of VR播客》集中关注未来空间计算中的沉浸式叙事结构和形式。本期节目是继续介绍威尼斯沉浸式2024不同沉浸式故事的系列之一，讨论的是《如果一个沉浸式故事》。该故事获得了杰出创新和新兴媒体节目特别评审团奖项，是对混合现实和沉浸式叙事创新工作的特殊艾美奖认可。主创人员谈到了他们在制作过程中所面临的挑战，如何将线性制作与大量迭代相结合，如何利用混合现实的优势，在故事中注入存在感，并与观众的物理空间相融合。他们还讨论了设计立体3D片段的优势，以及将角色带入观众的家中的想法。最后，他们提到了混合现实技术和苹果Vision Pro的作用，以及如何推动故事和角色的发展。虽然在制作过程中会遇到许多挑战，但整个团队充满激情地努力去实现他们的目标。故事讲述和游戏设计在交互式媒体中存在一种辩证张力。故事讲述是基于时间的媒介，通过导演或制作者的控制，在时间上控制事件来驱动故事情节的情感脉动。但一旦引入人的自主性，就会打乱这种张力的建立和释放，观众开始思考自己的自主权。这就形成了展示与接受的基本悖论。通常情况下，一个项目要么是线性叙事，有些互动但不会对故事结果产生真正影响，要么是更多可能性分支的可重复游戏体验。关于互动性和代理权的角色问题，每个个体和项目有不同的发展需求。在推动边界的过程中，延续创造力是关键。在推动XR媒体发展方向时，需要考虑情感共鸣、人类体验、参与故事的可能性，并通过技术和互动方式牵动观众情绪。不论是基于IP的还是独立创作，都需要继续创造，讲述自己的故事，并推动实现自己的愿景。

为了推广威尼斯沉浸式体验，VRChat在推特上发布了一条推文，宣布威尼斯中的不同世界。这引起了很多人的关注，并收到了积极的反馈。威尼斯沉浸式体验与VRChat合作，让用户在虚拟世界中体验威尼斯的不同景观和文化。威尼斯对VRChat的支持非常大，甚至在官方网站上设有专门的威尼斯沉浸式体验页面。这个合作在社交媒体上引起了很多人的关注和讨论。 这对于推动虚拟现实行业的发展和推广是非常重要的。这也是VRChat社区建设和合作的一个例子，他们通过与重要文化和艺术活动的合作，为用户带来全新的体验。VRChat不仅仅是一个社交VR平台，它还成为人们参与创意活动、体验文化活动的独特场所。 总的来说，VRChat和威尼斯沉浸式体验合作的推广效果非常积极。这个合作使用户有机会在VR中体验到威尼斯的美丽和文化，为虚拟现实的推广和发展作出了贡献。该讨论主要涉及到了VRChat网站上的一个项目，该项目是一个在VRChat虚拟现实平台上的世界展示，吸引了很多关注和点赞。作者提到了VR对人们大脑的影响和潜力，以及VR在艺术、演出和心理治疗领域的应用。还讨论了化身和虚拟现实中的社交互动的特点，以及人们可以通过虚拟现实体验其他人的观点和艺术作品的创新方式。作者对未来对虚拟现实的潜力感到兴奋，并希望更多人参与和体验虚拟现实。最后，作者感谢沉浸式社区的支持和愿意与他们一起创造和探索。