I had a note from Andrew Hughes, Adjunct Instructor at the University of Cincinatti and head honcho of Designing Digitally Inc, on the success to date of their 3D Virtual Campus Tours product. Mirror worlds are of course well established and were one of the original ways universities and business have utilised virtual worlds.

Universities in particular are an obvious market, in that new students have a genuine interest in learning how to find their way around, to which virtual environments are ideally suited to help out.

I shot some questions back to Andrew Hughes to get some more information on where 3DVCT sees itself in the marketplace and where it sees its unique value is.

Q: What was the original impetus to develop specifically for campus tours?

A: We have built over 30 campuses inside Second Life, Opensim, and other virtual worlds only to find that we’re not thinking about the convenience factor for novice users. On the web we give around 2 seconds for a website to load before we move on. We were looking to build a browser-based campus and it just so happened that the United States Air Force Academy was looking for a virtual campus tour that was online and completely a browser based replica of their campus. We won the contract and have built a browser-based high end campus tour with built in communication tools and live and AI guided tours.

Q: What sort of response have you had to date from universities, including international universities?

A: We launched the product in March of this year. With the build we have done with the United States Air Force Academy, they have had four thousand recruits through the space at this current time. We have a handful of Universities both in the USA and outside the USA we’re building now but we are under NDA’s with them and cannot disclose their name, the nature of the campus’s needs etc until they are launched on the client’s website.

Q: We have a lot of readers who are educators: can you give a little insight on the platform 3DVCT is built on, including how easy it would be to implement at a university with more restricted IT infrastructure?

A: We’re using the Unity 3D gaming engine and a complex MMO system that is connected to a dynamic server or servers. The development of the system has a complete content management system for users, history, macros for the tours, and even the ability to control the AI bot and what she says within the CMS. The databases are able to fully integrate into an existing CRM or ERM software used by the university so that there is one streamlined process.

We work hard to learn the process from day one of a potential student to the date he or she signs up for the first class. We then build the system to be as integrated and as easy as possible for the University. We also have extensive experience in building in Unity 3D to the extent that we’ve been quoted by their CEO for our talents. The reason I state this as we can change the ports used to adhere to the client’s specifications. We also can cloud the system so that it loads faster and is a little less processor heavy on the end user.

Q: Obviously it will vary but can you give a ballpark cost for a standard university campus tour from development to implementation? And how do you think this compares to other options in the marketplace?

A: Our company is very good at what we do and so we’re in line with any other completely custom built browser-based virtual MMO developer. We also do pricing per enrollment size. So a smaller college will get a discounted rate depending on the pricing of the current student enrollment. Right now there is not a virtual world focused on just giving virtual campus tours. Right now in the industry other virtual campus tours are 360 panoramas or Google overhead maps. An experience like that won’t let the student see how big the dorm room is compared to his or her size, nor would it allow them to actually walk around a to-scale campus to see where everything is and get familiar with the campus by actually walking around in it or talking to a live admin rep through voice and text chat we have built in.

Our virtual space is built in the high end gaming engine called Unity 3D and has had over two years of R&D built into it, so that the process can be done quickly and at a professional level you cannot get from Second Life or any other virtual world out there.

Q: What arguments would you make for your platform as opposed to say a university going it alone and developing an OpenSim grid on which to mirror their university and conduct tours?

A: We have the ability to do the following, unlike the virtual worlds you speak of above:

1. Full AI Technology
2. Control over the avatar experience
3. Custom ability to change ports
4. Higher quality of development
5. Runs in a web browser
6. Does not have a large learning curve to get into the world
7. Fully customizable both interface, experience, branding, etc.
8. Ability to be skinned and placed on your website for full ownership
9. Full content management system for the ability to control bots, users, history user tracking where they were, etc.

This is far beyond what those other platforms could ever do – I state this as we’re well known for our SL and Opensim builds and we found that we cannot recruit students effectively.

Q: What are Designing Digitally’s plans for the coming year?

We are working on 3D training simulations, and virtual worlds for government and corporate clients. Many of them are either under NDA or classified government projects. We will be launching a financial literacy system for people to learn how to manage money, buying houses, etc. This will include both Flash and Unity simulations within it. We are also going to be going to the following conferences:

- ASTD 2012
- SALT 2012

3DVCT will be at:
- Noel-Levitz 2012
- NACAC 2012

———-

So there you have it – the 3DVCT product has hitched its wagon firmly to the Unity3D platform, an obvious trend in the simulation field in particular. For what it’s worth, the time I spent checking out 3DVCT further reinforced to me the responsiveness of Unity3D. It’s not the panacea for everything but it’s dominating some key virtual world niches – which lays down a significant challenge to competitors. That can only be good for the ongoing evolution of the industry.

Microsoft’s Kinect is rightfully getting a lot of attention from researchers. One snippet that caught my attention is a collaboration between Microsoft and a number of UK and Canada-based researchers. The result is KinectFusion.

Have a look for yourself:

The implications for virtual worlds are fairly obvious. The thing that particularly struck me is the dynamic capability of the approach even at this early stage – if something changes with the physical world environment, it is reflected virtually. For the education, science and health fields, to name three, this is huge.

One obvious example within my pet area of clinical simulation: a camera (with consent) is placed in a busy emergency department in a large teaching hospital. Emergency nursing students based at a rural university receive that feed, had it convert on the fly to 3D for use within their virtual learning environment. Students may actually ‘work’ a full shift virtually, needing to respond to the challenges of the changing environment as they occur.

As I said, there’s a long way to go (for starters, KinectFusion is about surfaces only), but the progress is rapid and exciting. Over to you: what applications could you see this being good for?

Bruce is the better looking guy on the left

Thanks to a convergence of schedules and geographies, I actually had the opportunity to have a hands-on with the engine myself on Friday night. CEO Bruce Dell, having just gotten off a plane from the UK, spent some time talking about his recent trip to Gamescom in Germany, the work he has on his plate and the level of interest the engine is receiving. Then it was onto some ‘play’ time. After 10 minutes or so of navigating the demo (the same one shown in the video), a few things struck me:

1. The absolute smoothness of the navigation experience

2. The fidelity of the graphical experience

3. It was all done on a bog standard PC laptop

4. If the same level of quality and smoothness continues after full animation capability is integrated, that this is going to be one groundbreaking piece of technology.

5. If good consumer content creation tools are integrated with the engine, current virtual environments such as OpenSim and Second Life should be very, very concerned. Or at least be looking at licensing the technology.

I for one am excited to see what comes out the other end of Euclideon’s self-imposed media blackout over the coming months. As I said to Bruce on the way out from our meeting: he should make the best of the time out of the spotlight, because if he pulls off what he’s aiming for, it will be the last time he’ll have that luxury.

Photo courtesy of Phil Testa.

Like a lot of virtual worlds observers, I’ve written repeatedly on the need for virtual worlds like OpenSim and Second Life to be simpler to use – ideally web browser based. Kitely, a project underway since 2008, takes a big step toward achieving that by making the establishment of an OpenSim grid nearly as simple as it gets.

It took me under ten minutes to get set up in Kitely. Here’s how:

1. Log in via Facebook Connect.

2. Install the Kitely plugin (Mac users note: Safari or Opera aren’t currently supported by the Kitely plugin at present, you’ll need to use Firefox or Chrome).

3. Create a world and choose if you want to invite anyone from Facebook groups you are part of:

4. Type a name, optional description and type of world you want to start with.

5. Click on ‘Enter World’ and your SL browser will launch (Mac users again – there’s a known bug whereby your username and password are all entered in the Name field of the SL browser – you just need to type in that password and delete it from the end of your name)

5. Voila – you’re now on your own island / collaborative space:

6. Three minutes later and I had my venerable log cabin rezzed on my island:

Kitely is currently in beta, and the currency used is called a KC. As part of the beta you get 50 KCs currency to start with and it costs 1KC per day to keep each world you create. On the proposed maximum discount structure that works out at US ten cents per month. It’s an attractive proposition for someone not wanting the hassle of creating their own grid from scratch and its more than competitive with other providers. The support functionality is fairly well set up and responsive from what I’m seeing.

There’s still plenty of kinks to iron out but Kitely is a superb snapshot of what is going to be required for wider adoption of virtual environments: simplicity and integration with other platforms. I’d be interested to hear from anyone who has experience in creating content in OpenSim as to your thoughts on comparability to other offerings. It’s also worth having a read through the Kitely FAQ, which covers a lot of stuff including the approach to intellectual property (essentially the same as Second Life) and the Terms of Service.

Thanks to a number of Metaverse Journal twitter followers for the heads-up.

Update: With thanks to reader Psx_kai, who pointed out a key fact I’d missed in the story. The pricing I described was correct but didn’t include the extra charge of US$0.20 per minute for each visitor to your world. That’s certainly going to get pricey after a while although it seems it’s going to be an option to earn a fair whack of free KCs. On the upside, the ‘pay for what you use’ model is something that can work well for those wanting intermittent events without the ongoing higher monthky costs on say Second Life.

This is a guest post from Surreal Numbers on how the Openlife grid has played host to numerous musical events. It’s one of many examples of how OpenSim and related grids are continuing to grow in popularity and maturity.

Thanks to Shai Khalifa for the heads-up on the project initially, and for a historical take on Openlife you can also view our original 2008 profile of the Openlife grid here.

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I’d like to thank Lowell Cremorne and The Metaverse Journal for taking an interest in the Virtually Live Events Project and publishing this article.

Purpose and Initiation

User-created virtual reality is the most flexible and powerful tool for sharing information and imagination. Upon entering a space made with 3D modelling primitives and scripts, a visitor can take a journey far richer than that offered by other sharing technologies including blogs, photographs, and audio-video streams. At the same time, community development using virtual reality can have a significantly different life-cycle as compared to the use of other social media.

Social development and technical capabilities are closely entwined in virtual worlds. For example, without a functioning script engine, reliable login servers, and robust sim physics, it is not reasonable to plan and host events. By late-2009, The Openlife Grid had reached levels of stability, scalability, and security appropriate for hosting events reliably. The Virtually Live Events Project (VLE) was started on 05 September 2009 with a solicitation for an “International Live Music Events Developer” committed to consistency, innovation, excellence, and sustainability. Goals were set for number of monthly events, expected audience size, an international distribution of performers representing all continents, and integration with the grid’s business community. The quantity and quality of the responses were overwhelming. They were invariably professional and, most strikingly, reflected a strong spirit of generosity.

The solicitation was focused on finding a single person capable of initiating and maintaining the project so I had not anticipated that the majority of feedback suggested that I form a project team and manage it. As I came to learn, a team was easily justified by the extensive list of tasks that needed to be addressed. But I was reluctant to manage. I’m a mathematical scientist, not a musician, and I felt unqualified to understand music event hosting much less how to build a sustainable arts program.

Eventually, I recognized two things. First, I have a strong interest in hearing music from everywhere. My father had been a Grammy-nominated recording engineer for RCA Records and worked with outstanding musicians and singers from around the world. In addition, I’m a product of the South Bronx, which has a rich fusion of multinational music that simply will not allow one’s body and mind to sit still. Second, professionally, I have a lot of experience planning and hosting conferences as well as managing international research project teams. It seems to be an odd combination of characteristics on which to base the decision to manage but now, a year and a half into VLE, they seem even more applicable.

Challenges and Team

The challenges for the project are to:
1. host music events consistently;
2. innovate to keep performances and venues fresh;
3. work towards a standard of excellence; and
4. sustain and grow the project into the future.

To meet these challenges the team, which has evolved over eighteen months, was initially Debbie Trilling, Adec Alexandria, Shai Khalifa, Digital Dreambuilder (Digi), Pantaiputih Korobase (Pants), and me. At present, it includes Shai, Digi, Cheops Forlife, and me as well as a consulting group with Caro Axelbrad, Grimley Graves, and Pants.

Debbie Trilling and Adec Alexandria (both UK) helped establish a strong footing for the project as well as provided me with the best possible mentoring for managing it. Debbie’s artistic work is well-known in Second Life. She sets a very high standard for quality and was always quick to point out what would not work, what would work, and why. Adec has experience hosting events, is a keen photographer with a great design sense, and an excellent builder who can quickly bring prim form to the vision in his mind’s eye. Debbie and Adec eventually resigned because of other personal and professional obligations but their influences still underpin Virtually Live Events.

Shai Khalifa (Australia) has a degree in arts management, was a professional musician, and has extensive experience managing virtual music events. She has been invaluable for vetting, contacting, and booking performers. Her role is especially challenging since she is literally the artist’s first contact with VLE and she has the professionalism to address whatever questions, comments, or observations arise. In addition, her experiences have provided sound insight into how the performance program should be structured and how it will evolve.

Digital Dreambuilder (Native of Ireland living in Finland) is innovative, a skilled builder and scripter, and an amateur musician with experience planning and hosting virtual events. He’s also professionally involved with virtual education and training, which has implications for the future of VLE. He has a well-grounded sense of setting goals, the capabilities for meeting them, insights for avoiding pitfalls, and the creativity for crafting fallback plans in the case of disaster. He’s built and animated almost all of the exceptionally detailed musical instruments used by performers on Virtually Live.

Pantaiputih Korobase (Germany) was an early member of the project team selected for his insightful nature, exceptionally big heart, people skills, and diamond in the rough building skills (nowadays, he’s well-cut and polished). His role has been recast as a consultant in order to accommodate his personal wishes.

Cheops Forlife (France) was added to the team after Debbie and Adec left. She is unfailingly cheerful, positive, and creative. Once new performers are booked, she brings them inworld and prepares their avatars for the performances. This is no small task since there are psychological, sociological, and technical factors involved. However, she is exceptionally well-suited to the effort given her training in psychology and professional background managing non-profit programs.

Caro Axelbrad (Spain) and Grimley Graves (US) serve as consultants to VLE. Caro custom builds skins, shapes, hair, and clothing for the performers when needed. Both she and Grims have been longtime supporters of the project and, along with Pants, share their creative ideas for helping VLE grow and evolve over time.

I help the team meet the project challenges. I especially enjoy designing and building our default and themed venues.

Although not a member of the project team or consulting group, Logger Sewell deserves recognition for donating the stream used by Virtually Live. His action was an early example of the generosity the project enjoys.

Performances and Venues

VLE performances and venues have been well-documented on the project blog as well as Twitter where performers are announced and event photos are posted. Over the last eighteen months, VLE has held themed events (seasonal parties, wear your green dots, pool, beach, and valentine’s aftermath, among others) and rebuilt the project region, Virtually Live, many times to accommodate the themes as well as new concepts for the entire venue.

Performers have responded enthusiastically. It is really important to the VLE team that the performers have the best possible experience whenever they visit Openlife and this is reflected in their feedback both to the team and the event guests. Time and again, performers have commented on how much they enjoyed the entire process of coming inworld and performing. While musicians and singers had previously crossed from one grid to another to perform, the VLE project broke new ground by establishing an innovative mentoring model to make their transition to Openlife simple and fun. One broad reaching effect of the VLE model is that it has provided a methodology that performers use to explore the potential of other virtual worlds, which increases their reach and audience base.

The performers, moreover, invariably notice both the unusual artistic venues on Virtually Live and the chatty appreciative crowds that attend. The Virtually Live region is devoted exclusively to the arts and the builds are among the most distinctive and beautiful performance venues in any virtual world. In turn, performers all want to come back and have spread the word to other performers throughout the metaverse, who have either already performed on Virtually Live or will be booked in the future.

The most important thing the team wanted for the audience was simply a relaxing fun time that everyone could count on happening regularly. Again, the response has been overwhelmingly posiitive and the best part of this has been the social development. Friending occurs frequently during each event and connections are made or strengthened. New residents of the grid are treated to a warm and helpful greeting in an enjoyable atmosphere, which reinforces the reputation of the community.

In addition to the many blog photos from events, Caro and Pants have each made videos of some VLE performances; a few links are:

Openlife 3rd Birthday and Halloween Party by Caro

Idella Quandry “Fields of Gold” by Caro

Yellow Pool Party by Pants

The Future

Recent updates to Openlife’s infrastructure have brought further improvements in scalability and features, which, in turn, can be used to enhance and expand the social environment of the grid. For example, for several events, VLE has made use of scene-flip, a unique to Openlife feature that, with the touch of a button, flips the entire region to an alternate scene. Having a full-sized blank region with 45,000 prims to use for a themed event has led to some beautiful scenes that required a lot of people to build. The Openlife 3rd Birthday and Halloween Party video illustrates the use of flip-scene. While the default venue remained secure in Slot 1 of Virtually Live, an entirely different scene was built for the party in Slot 2, including themed terraform and builds.

Virtually Live Events, notably, has been a valuable source of performance and stability data for Sakai Openlife, 3DX Openlife founder and owner. These data have been helpful for identifying technical problems and solutions that lead to grid improvements enjoyed by all residents.

While the emphasis to date has been on music, VLE intends to increase its scope to include theatre, art exhibitions, and arts education venues. Virtually Live Events wants to thank all performers and guests for their support over the last eighteen months and looks forward to where technical capabilities and social development take the project in the future.

A brief post from Australian fashionista and Blue Mars insider Estelle Parnall, has a shot of some testing she’s done of the iPhone version.

The shots (pictured left) aren’t really different to the ones released when the announcement of the iPhone version, PC version halt and staff layoffs were announced a fortnight ago.

That said, those limited glimpses do show promise, it’ll be interesting to see the progress made in coming months.

Disclosure: Estelle advertises with the Metaverse Journal.

In a fairly unexpected move, Avatar Reality’s CEO Jim Sink has announced the cessation of development of the PC application version of virtual world Blue Mars, with the soon to be smaller company moving to focus on developing for the iOS (read: iPhone / iPad) platform. The change involves the loss of a number of staff, including Jim himself. You can also listen to audio of his discussion with the Blue Mars community here.

Whichever way you look at it, this is a major setback for the company. The switch to iOS, however viable, does provide a stark contrast to the PC-only development to date. That sort of strategic shift doesn’t happen overnight, and given the fact an alpha of the iOS version is already in existence adds weight to that. On the face of it, it looks like another shift to the more superficial virtual worlds offering. The withdrawal of technical support and the shelving of further development for the current PC client will have a serious impact on the core group of content creators who’ve been working on the platform to date. Those creators may still have a role to play on the iOS version but it’s hard to envisage it moving out of beta before the end of the year.

Overall, this announcement has a few key impacts. First, it effectively ends in the short-term any claim Blue Mars had over being a serious challenger to Second Life. Second, Blue Mars now enters the iOS marketplace which is burgeoning with developers working on virtual worlds. Third, this places an ever more focused spotlight on the viability of more complex, content-driven virtual worlds. I’m hopefully very wrong but there seems to be a race to the bottom for market share more broadly. Hopefullt Blue Mars proves that wrong but I’m unconvinced.

Sincere commiserations to those affected by this change.

I appear on a snow-covered beach and look around me. The sun is rising, but it is doing it very quickly. The whole day will pass in just a few minutes, and I have a lot to do. First I test the ice. It holds me up well enough and there’s an interesting island out in the lake off to my right. First thing, though, I’m looking for trees.

I turn around and climb up the slope to my left, hoping for a better view. I pass a couple of cows trudging aimlessly through the snow as I look for a good vantage point.

From the top of the nearest hill, I can only see a couple of isolated trees. It will have to do for now. Time ticks.

I get into the shade of the tree, and use my hands to harvest a supply of wood, then move onto a second tree between two hills. Wood seems scarce here, but I soon have a small supply of it and some cuttings to plant. After all, I’m going to need more wood before long. I’d better start organising a renewable supply.

Something catches my eye, though. A nearby rock-face shows exposed coal.

I work with the wood I’ve got, making myself some planks and shafts, and a simple work-bench. In less time than it takes to tell, I’ve got a simple wooden tool. It won’t last long breaking rock, but it doesn’t have to. I focus on the rocks next to the coal, before moving on to the coal-seam itself.

Quickly, I obtain a little coal, and enough stone to use for the head of a new pick-axe. I look up at the sun. There’s always a little time-pressure on the first day.

It’s Noon already. Nasty things come out at night, so I need to organise shelter quickly. Time to trek out to that island I spotted earlier. It takes me a moment to get my bearings, though. With the sun right above me, I’m not completely certain which direction I’d come from. Then I spot the cows again, between two of the nearest hills, and strike out that way. Moments later, I have a view of the icy lake, and the island.

Not all of the lake is frozen, but enough of it is for me to trek straight out to the island that I spotted earlier.

The sole inhabitants of my new island are four sheep, hopping around and bleating. A quick survey reveals that it isn’t a true island. The far side is joined to the mainland by a sandbar. Nevertheless, it will do. I need shelter before it gets dark.

With my hands, I start scooping away snow and sand. Pick-axes are for stone, and I don’t want to ruin it on softer materials. I cut a tunnel straight into the side of the hummock from its beach, and it isn’t long before I’m a few metres in and cutting through stone with my rapidly deteriorating wooden pick-axe. I quickly hollow out a small chamber, once knocking a hole in the roof, which I repack with dirt.

I left my primitive workbench back near the coal-seam, so I build another. I shove it into a corner, but the light coming in through the entrance is already starting to fade. It will be dusk soon. Very soon.

I lay out six planks on the bench and make a simple door. While I’m doing that, I combine some coal with some sticks and make some torches. When I look up, I realise just how dark it is getting. I hurry to the entry tunnel and put the door in place, checking that it opens and shuts properly. A bewildered sheep looks at me from the beach.

I move around the chamber that I’ve dug out, and jam some of the torches in the walls. Well lit now, with a door between myself and the outside. I settle down to wait out the night. I can already hear … things moving around outside. Dark-loving creatures that will kill me if they can.

The night will pass as quickly as the day did, and now I have shelter. In the morning, I’ll plant some trees, find some more coal, and see if I can expand my diminutive fortress. The island isn’t large, so most of it will have to be either up or down.

Minecraft has been under constant development for quite some time now. It’s a java-based game which runs in a browser, or as a separate download, and receives frequent updates. It’s just graduated to beta, and features continue to be added at a steady rate.

Minecraft is almost the archetypal sandbox game (with actual sand, moreover). With coal and wood, stone, sand, soil and metal, you can make all sorts of things. What you make is up to you. There’s no goals other than what you set, no achievements to strive for, no satisfaction other than setting out to do something and accomplishing it.

At night (and in the dark places of the earth), nasties of all sorts emerge that mean to do you harm. You can fight them or avoid them if you prefer. There are skeletons, zombies, giant spiders, blobs and more. You can make bows, swords and armour and fight them, or like me set up a sturdy home to keep them out – or both, if you prefer.

Minecraft allows you to make tools, doors, switches, signs, levers, pressure-plates, mine-carts and tracks, boats, buckets, and more. You can take the wood, soil, sand, and rock that you’ve harvested or dug out and place it as you please, making new structures – you can cook meat from animals, or turn sand into glass blocks for construction of windows and skylights. You can swim, drown, jump or fall into lava. You can build a portal to some ghastly netherhell – you know – just for laughs.

If you should die, you’ll drop everything you had, and reappear otherwise unscathed back at the place where you first started. Unless lava destroyed your belongings, you can go and get it all back again. Weapons, armour and tools all wear out with use, though and need to be replaced now and again.

Minecraft’s sound is simple, but effective. A lot of what you hear is digging sounds, over the background music (which you can disable if you prefer it).

What might really catch your attention, though, are the games graphics.

Minecraft’s graphics are all essentially simple and blocky. It doesn’t require an awesome amount of computing power to run (though if you have plenty, you can crank the settings up). It’s like the world is made out of a child’s construction blocks, and might get you thinking of many of the computer games from the late 1980s and early 1990s. Don’t be put off by the retro visuals, though, because the game’s graphics while simple, are charming (and unusually sophisticated) and – more importantly – get you thinking in terms of blocks.

Digging out blocks and stacking blocks are the keys to mining and construction. Like assembling anything with Lego – only Lego the size of your head. So, the blocky nature of the terrain and creatures (and even the clouds, sun, moon and stars) isn’t just a cheap shortcut. It’s a stylistic choice that supports the simulation at every level.

There are no goals and no story to Minecraft – it doesn’t really count as a game by objective definitions. It is, however, an excellent toy, and like any toy, you can play games with it and have fun with it. Minecraft runs in a window, and suspends itself when not actively being used, making it an almost ideal pick-up-and-play casual diversion.

Minecraft was the primarily the work of a lone programmer, Markus Persson, however the game recently hit the public imagination, and discounted pre-beta sales were… well, fairly staggering is what they were. Persson was able to hire staff and office-space, and Mojang Specifications is now working full-time on Minecraft and another (as yet unannounced) project.

Presently, Minecraft can be purchased online from its Web-site for €14.95, while it remains in beta.

I had the pleasure of meeting Dale Linegar last year – he’s one of many innovative Australian educators working in virtual worlds. He’s after some developers as detailed below, preferably Melbourne-based. If you’re interested, drop him an email.

We are a small, dedicated team of educators, developers and programmers who are working on a range of virtual world, AI and mobile related products for several Australian Universities.

We are based in Melbourne and would prefer to work with locals if possible due to the complex nature of many of our projects, however we do have some remote staff and are always open to change.

We require people with one or more of the following skills;
- Lsl scripting
- Experience with XML PRC and REST
- Experience with Cakephp
- Experience running Opensim servers
- Experience with AIML, perhaps also radegast or program-o

Most of all, you should love what you do.

Pay and hours will depend on your skills and experience.

If you fit one or more of the roles above, please get in contact with dale@oztron.com.

Disclosure: Dale kindly paid a fee for this post, which has been donated in full to Metaverse Aid.

Have a job you’d like to advertise? Contact us to discuss. Rates start at a $25 Metaverse Aid donation for a two-month text link.

The announcement by Linden Lab in the past 24 hours that their discounting of pricing for educators and non-profits would cease in January 2011, has engendered the expected level of outrage. And rightly so, given the critical mass of educators that have generated significant outcomes for Second Life. In fact, it could be argued that it’s only the good news stories generated by the non-profits that have helped offset some of the negative aspects inflated by parts of the mainstream media and others. The comments section below the announcement is well worth a read: even taking out the initial emotion, the overwhelming attitude is that it’s time to downsize or move on. Of course, the migration to OpenSim grids is already well underway, for a range of reasons.

As someone who follows virtual worlds pretty closely, I thought I understood the specific reasons for the move from Second Life fairly well. However, I only got the full picture over the past month, when I needed to explore options for my own education-related build. Without boring you with detail, I’m looking at conducting some research that will involve some fairly complex simulations. When I wrote the proposal for the research, I was already assuming that Second Life wouldn’t necessarily be the platform due to cost constraints (and this was before the price-rise announcement). That assumption was confirmed after some detailed discussions with a number of people, including someone developing a number of education-related projects including one aligned with my own proposal.

Based on those discussions and my own observations, here’s the key reasons I’ll not be working in Second Life for my education project (and most likely using either Unity3D, OpenSim or both):

Content creation: Although SL provides some great scripting options, the learning curve is significant and there’s minimal support for defacto design and modelling platforms. This leads to the need to either hire an SL builder or give up a significant chunk of time to learn a scripting language that’s not transferable elsewhere (except in some respects to OpenSim).

Structured learning: There is minimal ability in SL to guide avatars through particular experiences. Heads-up displays can work to some extent, but the scene-by-scene capability of Unity3D is head and shoulders above.

Reliability: ignoring historical challenges, the fact remains that down-time in SL is totally at the mercy of Linden Lab. A standalone OpenSim grid or a Unity3D installation aren’t as susceptible.

Client: SL being still being a standalone client makes it a bigger challenge to use for education that a web-based client. That may change in the medium-term but it’s a deal-breaker for purposes where dedicated PCs aren’t an option.

Ease of use: One of the key weaknesses of SL is it’s ease of use, particularly for new users. It’s something that has improved and will continue to improve. Although competitors aren’t markedly better, they certainly aren’t worse.

I want to make an important point: Second Life deserves to continue to grow and I’m still confident it will, albeit with a very different focus to what it has now. The decision on education pricing fits the wider business model as it now stands. Even that is fine, if it’s based on confidence of a new market and unshakeable faith that the current shortcomings of SL will be overcome soon enough. On the face of it, that market isn’t apparent and the improvements still seem a while away.

I’d love to hear from educators / non-profits at the coalface. Emotions aside – have you started considering moving away from Second Life, and if so why?

Update: Linden Lab have made a follow-up statement with a rather interesting take on things.

Onverse is comprised of a 2D web site, connected to a 3D virtual environment. Together, they form an intriguing new social networking platform with games included – games intuitive enough for non-gamers to learn, but complex enough for gamers to be interested in. You log in using the same account credentials regardless of whether you log in on the web site or the virtual environment. Cross-functionality between the two is increasing even as Onverse gets closer to its official launch date, which is slated for April 15th 2010.

From the moment you start signing up for an Onverse account, you are given some personal artistic choices regarding your avatar’s look, and as you progress into the environment, more and more choices open up to you, including decoration of your own free apartment. Some of the clothing, furniture, and tools are free. Some things you can buy using points, one of the Onverse currencies collected in-world. Some items are available only by purchasing Cash Coins (the other Onverse currency). Apart from clothing, you can also choose animations and emotes to use that further individualise your self-expression and your experience of Onverse.

There are currently three modes of travel in Onverse: you can teleport between worlds, of which there are three at this time (The Hub, Volcano Island, Ancient Moon); you can travel long distances with the Avatar Cannon (though it’s best if you don’t try to aim for any specific landing point the first few times); and of course, you can always walk.

The Hub, Volcano Island, and Ancient Moon each feature outdoor areas and shops. The Hub also boasts apartment buildings, a casino, a nightclub, and an amphitheatre. Volcano Island and Ancient Moon each have themed housing communities – instead of having your apartment in an instance run just for you, apartments are grouped together in lots of 40+ to an instance. You can meet new friends or encourage your existing friends to become your neighbours.

I was initially unimpressed by Onverse. That was until I started doing a little digging, and discovered how little time it had been in development for, how few people were working on it, and the tiny budget that Onverse has currently. This is the team listing: Steve Pierce – “The Designer”; Wes Macdonald – “The Engineer”; Eric Hoefer – “The Artist”; Ben Steele – “The Animator”; Scott Mitting – “The Web Engineer”. The social networking component alone was built in under a month; the virtual environment in a comparative period of time for its size. Many parts of the coding for the game world, including the back-end server, have been written from scratch. The team also needed to learn to create avatar and clothing meshes. Other things that impressed me:

1. There’s a client available for the Mac that does not lag behind the Windows client

2. The client for the virtual environment can be run on computers with relatively low specs, and they have been streamlining their software and reducing the RAM footprint so that machines with even lower specifications can still run it.

I was also intrigued by the Onverse method of filling the world with music: signing on bands and artists who allow their music to be played in-world. Indeed, “Onverse is always looking for new bands who would like to showcase their talent inside our world. If you would like to be considered, contact us at music@onverse.com.”

If the use of casual games and social interaction on Facebook is any indication, then Onverse, with its more engaging environment, combined with socially interactive opportunities, should do extremely well. I believe that there will need to be a range of add-on game types if the product is to appeal to gamers and casual gamers alike, but I feel that the trend in Onverse is towards such a range. I look forward to monitoring their progress.

There’s no denying the demand by business for virtual environments that allow for replication of real world products and processes. Forterra’s OLIVE platform, TeamingStream’s NoviCraft, Second Life and OpenSim grids are just four environments used extensively by business for prototyping products or business.

Archi-ME is a new entrant in that space. Created by UK-based company MOOFU, its stated purpose is “a new solution that enables designers to create fully interactive avatar-based virtual environments from 3D CAD models”. If you spent a couple of minutes watching the video below, you’ll see Archi-Me in action. Those who’ve used Second Life in particular will see some big similarities around appearance and the ability to manipulate objects and change textures on the fly. In fact, there’s very little from the demo that can’t be replicated in Second Life. Which isn’t the point really: this seems an application designed for building and architecture firms who want an easy way to bring their CAD-based designs into an avatar-driven 3D environment.

To get some more details, I shot some questions through to Nick Palfrey, Managing Director at MOOFU:

Lowell: Can you give a ball-park estimate on typical cost of something like a basic house walk-through?

Nick: For applications where the client is using toolkit functionality and requires very little tailoring, which would be the case for many Architects we would be looking at under £5k. We also design custom interfaces and environments for larger organisations such as property developers, with budgets of up to £25k as new avatars, functions, networking and design options are all re-visited.

Lowell: Is there any intention to allow people to own their own copy of Archi-Me i.e. pay a license fee to create their own content rather than rely on it arriving on a DVD.

Nick: We plan to offer an import system at some point so that users can generate their own environments through their CAD models, we should stress that we are not replicating Second Life and the system will not have tools for building spaces in it. Archi-Me is all about showcasing designs and for that reason, we rely on the client or user having a thorough understanding of either 3DS Max or ArchiCad. It is also important to note that only we can package the system up for web application and hosting.

Lowell: What is the fundamental architecture that Archi-Me is based on – is it a ground-up proprietary virtual environment or does it leverage say Forterra’s OLIVE platform or something similar?

Nick: We use Unity 3D to compile our code and for all of MOOFU’s game work, we stick with this. All code, assets and scripts are customised as well as a number of SDKs being used. We use Unity because it compiles the data instantly on-screen and for visualising large buildings with multiple cameras, this functionality is very helpful!

Nick: Are you able to disclose who the client or clients in Australasia have been?

Lowell: Yes… Dr Kenn Fisher Associate Professor Melbourne University and Director of Learning Futures Woods Bagot Architects, Melbourne. This has been a project organised by him with a number of international stakeholders. More information on Kenn is available at Rubida.net!