The questions were answered by Avi Winkler, Creative Director at Signal Space Lab.
I understand your concern, James. From what we can see, according to the most recent ARtillery Intelligence data, the VR market is indeed still growing and continues to outpace the broader games industry; albeit from a much smaller user base. The usual barriers of entry still exist for VR though, but the increasing number of new games is making it a more competitive space for developers — both in terms of discoverability and innovation.
Excellent questions, WoefulL4ance. The script for Human Within is much larger in comparison to a linear production (at 172 pages) and the format in which it was written is very much like a choose your own adventure novel. When it gets a choice moment, the script tells you to skip to a specific page to carry on with your choice. As for how much content needed to be filmed… a single playthrough takes anywhere from an hour to an hour and a half, depending on how long it takes you to solve the puzzles along the way. With each of the branching variations, other endings, and some scenes you don’t get to experience at all in your first play through, there is probably a good hour's worth of extra content involved. For all of this, the script had to go into great detail for each scene. For the live-action shoot, Film Director Anne Weigel, and her Berlin-based production team had just 12 days to complete everything — far less than what’s typically given for feature films. The sheer volume of content (with about 10 speaking roles) was overwhelming on its own, but the scene lengths and specific formats (whether 360° footage or multi-angle CCTV shots) added to the challenge. This approach for the actors, Anne as the director, and the entire crew, was radically different from what they were used to with traditional filmmaking.
Thanks for the question, Freebie. Our goal was to tell a unique story about technology, using technology. We also wanted to create an experience that incorporates the user as an active participant in the story. VR is a technology that immerses players in ways that are otherwise not possible. A great deal of inspiration was taken from older and newer movies like Lawnmower Man and Transcendence, as well as the representation of the Dr. Zola character in Captain America: The Winter Soldier. And with a focus on technology, we wanted to explore the concept of ethical concerns behind technological advancements, especially at a time when new tech is being developed at an exponential rate with each passing year. However, we also made sure that the story didn’t solely focus on the risks, as technological advancements have benefits as well.
We believe it is, Herman.GG. In the case of Human Within, we saw the opportunity to challenge conventions around immersive storytelling, and VR was the ideal space for us to tell this story. It was the best platform from which we could deliver our vision of a truly interactive and immersive experience that combines an original branching narrative with video game playability. We feel we brought something new and unexpected to the table for VR users to enjoy.
Great question, Capital914, as the choice mechanic in Human Within is something completely new to a live-action experience in VR. We wanted to deeply immerse players in the 360 flashback memories scenes in a way that reduced the need for traditional controller input. Initially we had the system provide no feedback at all, experimenting with having the choices you make be completely subconscious. But in playtesting this, it became evident that some kind of feedback was required to make the choice moments stand out. So while still using the gaze control system, we added UI to clearly showcase the choices. We are working on an update that will provide a tutorial explaining how the choice system functions.
I agree with you, Lesovikkstar. Hardcore Henry was a cool movie that pushed the boundaries of film in a non-traditional way. That said, many viewers of that movie found it difficult to watch due to motion sickness, even on a 2D screen. Having that degree of action and camera motion in VR would almost certainly make the motion sickness issue more intense. Robert Rodriguez’s short VR film, The Limit, is one such experience that is similar to Hardcore Henry. However, that film is presented in 180 degrees only. I have no doubt that was for two reasons. The degree of motion involved would have been two much for most viewers, if it had a full 360 degree view of things, and a 360 view would have made it extremely difficult to hide the camera and the camera operator from view. Human Within is a first step in pushing the boundaries even further, and I’m very excited about what’s possible to do with VR interactive live-action stories moving forward.
Great question, Roxas. It was important for us that each of the endings felt different from one another. In the earlier stages of pre-production, we originally had the intention of including a total of 8 endings. However, during the script writing phase we began to realize that the differences in the endings were becoming blurred — drastically reducing the impact that one had over another. We ultimately settled on 5 endings as being optimal. This allows us to focus on making each of them feel distinct. Subsequently, this decision also benefited the film production’s shooting schedule and budget.
We’re working on it, Mr. Mega. We’re on the verge of revealing a date for SteamVR and are excited for Human Within to be available for more players soon. For now, let’s just say it’s imminent. We recommend you wishlist it, so you don’t miss any announcements regarding its release.
Your question got me thinking, Forthcoming. I’m always looking for things that are new or that go against the norm, when it comes to gaming and film. I recently played Wall Town Wonders and Demeter, which are mixed-reality titles in VR. Being able to play a game that merges the visibility of your own living room with that of the game’s world is very interesting. I’d love to see more titles like that in the future and would love to work on one too, if I ever get the chance. As for films, I have to say that Nosferatu was excellent. The cinematography and atmosphere were stunning throughout. It was a wonderful throwback to old school cinema, but was created using a variety of modern filmmaking techniques. I think it was a perfect blend of old and new.
Interesting question, GreenLance. As a studio, we’re not sure it will overtake it in its current form. At least not yet. Especially considering how big, diverse, and multi-platform the games market has become. VR/AR would need a significant catalyst to do so. “Traditional” nowadays needs to include all consoles, PC, and of course mobile as well.
It was definitely ambitious, Partypopper. Our goal was to craft a story with a long form narrative that kept the user engaged. By switching from full live-action 360 scenes, to internet space scenes that also incorporated live-action content, and having Point Cloud sequences, it kept the experience feeling fresh. We had to be very careful not to have any one of these scene types be too short, as going too quickly from one to the other would be jarring and overwhelming for many users. That in itself introduced another challenge. Our 360 and internet space scenes (which displays 2D footage on multiple screens before you, each one showing the events from a distinct camera perspective) consist of single takes lasting, in some cases, as long as 5-6 minutes without any cuts. The actors involved were incredible, becoming so immersed in the story and knowing and performing the content in a way that is more akin to stage play performances, rather than film.
Interesting question, Jubilee. Typically, with VR experiences that incorporate live-action content, these experiences are relatively short and linear in flow. Being able to bring a branching long-form narrative experience to the format is something that we are definitely proud of. For the branching aspect in Human Within there is a great deal of carry over from traditional games such as the use of telegraphed interfaces that inform the player that a choice needs to be made. But unlike games with virtual characters made of polygons and animations, live-action content requires a different approach to avoid sudden popping in the actor positions when going from one choice outcome to another. In traditional 2D based experiences that can simply be avoided by cutting from one camera angle to another. However, in VR camera cutting is not typically done. We developed a way for the camera to change to new positions that feels organic without being disorienting.
Thanks for your interest, FrancisDrake. As a studio, Signal Space Lab has a variety of projects in the works. With Human Within, and Afterlife, focusing on bridging live-action content with interactive gameplay, we will continue to push what’s possible in XR moving forward. But we also have other projects in development that are more traditional, non-XR, games. At the moment, we’re gearing up for an early access release of a game called Every Day We Fight, later this year. It’s a turn-based tactical strategy shooter for PC (Steam) that introduces new and exciting gameplay features to the genre.
It was, Jakelmoss. The concept of someone’s consciousness existing in a digital form is not a new one. It’s been portrayed in several films and video games to date. For Human Within, we wanted to create a story and experience that explored the same concept, but in a way that immerses the player into the experience as an active character in the story, rather than just being an observer of it. And by placing you as the character existing within the digital realm, in VR, we were able to represent what it could feel like to be in such a state of existence.
We hope so, Absalon. The Signal Space Lab team is extremely proud of what Human Within has brought forward. High-res, live-action content in VR takes up a lot of data space. To enable Human Within to fit on a headset, untethered, at a high quality, we enhanced our proprietary software, called Vrex. It allows for the content required for long-form narrative experiences, like Human Within, to be possible. As long as there is demand for it, Signal Space Lab and the Actrio Studio team in Berlin will consider pushing the envelope even more. And we certainly hope other studios are inspired to create similar content in the near future.
From Chariot
Any chance that you add more spoken languages to the game?
Fantastic question, Dreamy Bull. The project was definitely made possible by an interdisciplinary team, across two studios. At Signal Space Lab, the team brought their expertise in gaming and audio, while the Actrio Studios team in Berlin, incorporated their filmmaking background. After reading the script, members of both teams immediately knew what they were getting into because it was a fusion of game playability and traditional filmmaking. For Anne Weigel, the Film Director, it was definitely the most complex script she had ever seen. To merge elements from both worlds, the teams had to step out of their comfort zones; otherwise, the different elements could never have been brought together in a cohesive way. The gaming elements are a crucial part of the storytelling, and the actors interact with them. According to Anne, it felt quite abstract when shooting this, as it was an imaginary construct that would only be implemented much later. They had to visualize it during filming. For everyone involved, seeing it all come together more and more, throughout production, was amazing.
Thanks for the question, GiornoMudaMuda. Everyone in this world is unique and makes choices in their life based on a variety of circumstances. The choices in Human Within are based on selfish vs compassionate options during flashback memories that determine how past events played out. It is the consolidation of these choices that have a direct influence on how the story ends. Depending on the combination of choices you make, you will get one of 5 possible endings that fall into the same selfish vs compassionate theme. Furthermore, the very first choice you make in the story determines whether the flashback memories you see focus on Linh’s relationship with her sister, Nyla, or her relationship with her boss, Blake. The flashback scenes you experience are completely different depending on which character you focus on in the first memory scene.
Great question, Dramatic619. Our focus from the beginning was to create an experience that completely immerses the user as an active participant in the story. The use of live-action content allows the experience to feel authentic and grounded in reality — to a degree that polygon characters and environments can’t provide, at least not yet. We designed Human Within to be a live-action film with gameplay interactions that embed the player into the story and allows them to interact with the scenes and the flow of events. But, knowing that a large portion of our audience would be casual players, we had to be careful not to make the interactive aspect too overwhelming. It was also very important for us to make sure the scenes were not bogged down by too many interaction points, as that can have an impact on the energy and pacing of the scenes.
Thanks for the question, Ghost. Human Within is certainly Signal Space Lab’s biggest and most ambitious project yet, in VR. But the studio, with approximately 35 team members, has a variety of projects in various stages of development. Our biggest non-VR title, which is set for an early access release later this year, is called Every Day We Fight. It’s a turn-based tactical strategy shooter for PC (Steam) that introduces new and exciting gameplay features to the genre. With each project we take on, we set out to push ambition, and as a result the studio continues to grow over time.
Response:
I understand your concern, James. From what we can see, according to the most recent ARtillery Intelligence data, the VR market is indeed still growing and continues to outpace the broader games industry; albeit from a much smaller user base. The usual barriers of entry still exist for VR though, but the increasing number of new games is making it a more competitive space for developers — both in terms of discoverability and innovation.
Response:
Excellent questions, WoefulL4ance. The script for Human Within is much larger in comparison to a linear production (at 172 pages) and the format in which it was written is very much like a choose your own adventure novel. When it gets a choice moment, the script tells you to skip to a specific page to carry on with your choice. As for how much content needed to be filmed… a single playthrough takes anywhere from an hour to an hour and a half, depending on how long it takes you to solve the puzzles along the way. With each of the branching variations, other endings, and some scenes you don’t get to experience at all in your first play through, there is probably a good hour's worth of extra content involved. For all of this, the script had to go into great detail for each scene. For the live-action shoot, Film Director Anne Weigel, and her Berlin-based production team had just 12 days to complete everything — far less than what’s typically given for feature films. The sheer volume of content (with about 10 speaking roles) was overwhelming on its own, but the scene lengths and specific formats (whether 360° footage or multi-angle CCTV shots) added to the challenge. This approach for the actors, Anne as the director, and the entire crew, was radically different from what they were used to with traditional filmmaking.
Response:
Thanks for the question, Freebie. Our goal was to tell a unique story about technology, using technology. We also wanted to create an experience that incorporates the user as an active participant in the story. VR is a technology that immerses players in ways that are otherwise not possible. A great deal of inspiration was taken from older and newer movies like Lawnmower Man and Transcendence, as well as the representation of the Dr. Zola character in Captain America: The Winter Soldier. And with a focus on technology, we wanted to explore the concept of ethical concerns behind technological advancements, especially at a time when new tech is being developed at an exponential rate with each passing year. However, we also made sure that the story didn’t solely focus on the risks, as technological advancements have benefits as well.
Response:
We believe it is, Herman.GG. In the case of Human Within, we saw the opportunity to challenge conventions around immersive storytelling, and VR was the ideal space for us to tell this story. It was the best platform from which we could deliver our vision of a truly interactive and immersive experience that combines an original branching narrative with video game playability. We feel we brought something new and unexpected to the table for VR users to enjoy.
Response:
Great question, Capital914, as the choice mechanic in Human Within is something completely new to a live-action experience in VR. We wanted to deeply immerse players in the 360 flashback memories scenes in a way that reduced the need for traditional controller input. Initially we had the system provide no feedback at all, experimenting with having the choices you make be completely subconscious. But in playtesting this, it became evident that some kind of feedback was required to make the choice moments stand out. So while still using the gaze control system, we added UI to clearly showcase the choices. We are working on an update that will provide a tutorial explaining how the choice system functions.
Response:
I agree with you, Lesovikkstar. Hardcore Henry was a cool movie that pushed the boundaries of film in a non-traditional way. That said, many viewers of that movie found it difficult to watch due to motion sickness, even on a 2D screen. Having that degree of action and camera motion in VR would almost certainly make the motion sickness issue more intense. Robert Rodriguez’s short VR film, The Limit, is one such experience that is similar to Hardcore Henry. However, that film is presented in 180 degrees only. I have no doubt that was for two reasons. The degree of motion involved would have been two much for most viewers, if it had a full 360 degree view of things, and a 360 view would have made it extremely difficult to hide the camera and the camera operator from view. Human Within is a first step in pushing the boundaries even further, and I’m very excited about what’s possible to do with VR interactive live-action stories moving forward.
Response:
Great question, Roxas. It was important for us that each of the endings felt different from one another. In the earlier stages of pre-production, we originally had the intention of including a total of 8 endings. However, during the script writing phase we began to realize that the differences in the endings were becoming blurred — drastically reducing the impact that one had over another. We ultimately settled on 5 endings as being optimal. This allows us to focus on making each of them feel distinct. Subsequently, this decision also benefited the film production’s shooting schedule and budget.
Response:
We’re working on it, Mr. Mega. We’re on the verge of revealing a date for SteamVR and are excited for Human Within to be available for more players soon. For now, let’s just say it’s imminent. We recommend you wishlist it, so you don’t miss any announcements regarding its release.
Response:
Your question got me thinking, Forthcoming. I’m always looking for things that are new or that go against the norm, when it comes to gaming and film. I recently played Wall Town Wonders and Demeter, which are mixed-reality titles in VR. Being able to play a game that merges the visibility of your own living room with that of the game’s world is very interesting. I’d love to see more titles like that in the future and would love to work on one too, if I ever get the chance. As for films, I have to say that Nosferatu was excellent. The cinematography and atmosphere were stunning throughout. It was a wonderful throwback to old school cinema, but was created using a variety of modern filmmaking techniques. I think it was a perfect blend of old and new.
Response:
Interesting question, GreenLance. As a studio, we’re not sure it will overtake it in its current form. At least not yet. Especially considering how big, diverse, and multi-platform the games market has become. VR/AR would need a significant catalyst to do so. “Traditional” nowadays needs to include all consoles, PC, and of course mobile as well.
Response:
It was definitely ambitious, Partypopper. Our goal was to craft a story with a long form narrative that kept the user engaged. By switching from full live-action 360 scenes, to internet space scenes that also incorporated live-action content, and having Point Cloud sequences, it kept the experience feeling fresh. We had to be very careful not to have any one of these scene types be too short, as going too quickly from one to the other would be jarring and overwhelming for many users. That in itself introduced another challenge. Our 360 and internet space scenes (which displays 2D footage on multiple screens before you, each one showing the events from a distinct camera perspective) consist of single takes lasting, in some cases, as long as 5-6 minutes without any cuts. The actors involved were incredible, becoming so immersed in the story and knowing and performing the content in a way that is more akin to stage play performances, rather than film.
Response:
Interesting question, Jubilee. Typically, with VR experiences that incorporate live-action content, these experiences are relatively short and linear in flow. Being able to bring a branching long-form narrative experience to the format is something that we are definitely proud of. For the branching aspect in Human Within there is a great deal of carry over from traditional games such as the use of telegraphed interfaces that inform the player that a choice needs to be made. But unlike games with virtual characters made of polygons and animations, live-action content requires a different approach to avoid sudden popping in the actor positions when going from one choice outcome to another. In traditional 2D based experiences that can simply be avoided by cutting from one camera angle to another. However, in VR camera cutting is not typically done. We developed a way for the camera to change to new positions that feels organic without being disorienting.
Response:
Thanks for your interest, FrancisDrake. As a studio, Signal Space Lab has a variety of projects in the works. With Human Within, and Afterlife, focusing on bridging live-action content with interactive gameplay, we will continue to push what’s possible in XR moving forward. But we also have other projects in development that are more traditional, non-XR, games. At the moment, we’re gearing up for an early access release of a game called Every Day We Fight, later this year. It’s a turn-based tactical strategy shooter for PC (Steam) that introduces new and exciting gameplay features to the genre.
Response:
It was, Jakelmoss. The concept of someone’s consciousness existing in a digital form is not a new one. It’s been portrayed in several films and video games to date. For Human Within, we wanted to create a story and experience that explored the same concept, but in a way that immerses the player into the experience as an active character in the story, rather than just being an observer of it. And by placing you as the character existing within the digital realm, in VR, we were able to represent what it could feel like to be in such a state of existence.
Response:
We hope so, Absalon. The Signal Space Lab team is extremely proud of what Human Within has brought forward. High-res, live-action content in VR takes up a lot of data space. To enable Human Within to fit on a headset, untethered, at a high quality, we enhanced our proprietary software, called Vrex. It allows for the content required for long-form narrative experiences, like Human Within, to be possible. As long as there is demand for it, Signal Space Lab and the Actrio Studio team in Berlin will consider pushing the envelope even more. And we certainly hope other studios are inspired to create similar content in the near future.
From Chariot
Any chance that you add more spoken languages to the game?
Yes, Chariot. We’re currently working on an update with additional language support for Human Within’s subtitles, beyond the English and French audio and subtitles we delivered at launch. The update should be available very soon, so keep an eye out for announcements.
Response:
Fantastic question, Dreamy Bull. The project was definitely made possible by an interdisciplinary team, across two studios. At Signal Space Lab, the team brought their expertise in gaming and audio, while the Actrio Studios team in Berlin, incorporated their filmmaking background. After reading the script, members of both teams immediately knew what they were getting into because it was a fusion of game playability and traditional filmmaking. For Anne Weigel, the Film Director, it was definitely the most complex script she had ever seen. To merge elements from both worlds, the teams had to step out of their comfort zones; otherwise, the different elements could never have been brought together in a cohesive way. The gaming elements are a crucial part of the storytelling, and the actors interact with them. According to Anne, it felt quite abstract when shooting this, as it was an imaginary construct that would only be implemented much later. They had to visualize it during filming. For everyone involved, seeing it all come together more and more, throughout production, was amazing.
Response:
Thanks for the question, GiornoMudaMuda. Everyone in this world is unique and makes choices in their life based on a variety of circumstances. The choices in Human Within are based on selfish vs compassionate options during flashback memories that determine how past events played out. It is the consolidation of these choices that have a direct influence on how the story ends. Depending on the combination of choices you make, you will get one of 5 possible endings that fall into the same selfish vs compassionate theme. Furthermore, the very first choice you make in the story determines whether the flashback memories you see focus on Linh’s relationship with her sister, Nyla, or her relationship with her boss, Blake. The flashback scenes you experience are completely different depending on which character you focus on in the first memory scene.
Response:
Great question, Dramatic619. Our focus from the beginning was to create an experience that completely immerses the user as an active participant in the story. The use of live-action content allows the experience to feel authentic and grounded in reality — to a degree that polygon characters and environments can’t provide, at least not yet. We designed Human Within to be a live-action film with gameplay interactions that embed the player into the story and allows them to interact with the scenes and the flow of events. But, knowing that a large portion of our audience would be casual players, we had to be careful not to make the interactive aspect too overwhelming. It was also very important for us to make sure the scenes were not bogged down by too many interaction points, as that can have an impact on the energy and pacing of the scenes.
Response:
Thanks for the question, Ghost. Human Within is certainly Signal Space Lab’s biggest and most ambitious project yet, in VR. But the studio, with approximately 35 team members, has a variety of projects in various stages of development. Our biggest non-VR title, which is set for an early access release later this year, is called Every Day We Fight. It’s a turn-based tactical strategy shooter for PC (Steam) that introduces new and exciting gameplay features to the genre. With each project we take on, we set out to push ambition, and as a result the studio continues to grow over time.
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