Nottingam Gms

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Nottingam Gms

  1. 1. mixed reality game niryuu niryuu@gmail.com 2009 10 28
  2. 2. mixed reality game • : ( ) • Mixed Reality Game: ( ) • AR( ) • Mixed Reality Lab Blast Theory 2001 • 2009 10 28
  3. 3. Can You See Me Now? D E A L I N G W I T H U N C E R TA I N T Y Figure 2. A runner with game equipment built into his jacket. • playing the runners’ status (including connection status) and GPS status, and playing the game. The control room and runners also used a walkie-talkie chan- nel separate from the 802.11b network for communication. Causes of uncertainty CYSMN’s most significant source of uncertainty was the GPS. In Sheffield, we used standard GPS with Garmin • eTrex receivers, and the game zone GPS spanned a mixture of open urban spaces with a few narrow, built-up side streets. Our system log analysis showed Figure 1. Online player’s interface: (a) the other players and the three runners. computer’s serial port registers a runner’s that reported GPS error ranged from 4 close up view game(b) map view. The and labels avatars with players’ position, which is sent back to the server m to 106 m with a mean of 12.4 m and names and highlights the runners with over the wireless network. We built this a standard deviation of 5.8 m. In Rot- a red sphere that makes them highly equipment into a robust outer jacket (see terdam, we upgraded to differential visible, even from a distance. Online Figure 2). GPS and used Trimble Lassen LP re- players can also select a zoomed-out Given the iPAQ’s small screen size, ceivers with Sarantel antennas. The Figure 3. The runner’s interface: (a) close ences. We’ve view, which shows more distant map seen evidence for our suc- the runners’ map lets them zoom game zone contained a similar mix of 3D and (b) map view. Blue arrows show up cess in positive responses from text pub- players and runners and the labels with key location names. Finally, they lic, press, and commissioning bodies; can view and enter text messages and between a global view and a close-up local view centered on their current position (see Figure 3). The runners open spaces, several of which looked out over open water (with a good view of the sky to one side) and narrower runners, red arrows online players, and hear the bookings for CYSMN; further Europeanrunners’ audio. Figure 1a used walkie-talkies with earpieces and built-up streets toward the game zone’s ( and receipt of an example online player’s inter- shows the 2003 Prix Ars Elec- a head-mounted microphone. They car- center. Log analysis showed that in this the bottom of the screen shows the most face, with the player’s avatar in the tronica Golden Nica award for interac- ried digital cameras so that they could case, reported error ranged from 1 m to foreground and a runner close by in the photograph the physical location where 384 m, but with a lower average error recent player text messages. The tive art. background. Figurevehicle, the inter- As a research 1b shows we’ve they caught each player. These pictures of 4.4 m and a standard deviation of hoped to face in map mode. test our technology in the most appeared on CYSMN’s archive Web sites 4.9 m. To improve accuracy, we con- information at the top in green shows ) the current estimated GPS error as realistic and stressful situations we can, moving fromrunners’ experience and giv- The the lab to the field The runners move through the streets after the event. Deploying CYSMN required support from a behind-the-scenes technical crew, figured the receivers to ignore satellites that were low in the sky (below 15 de- grees), although this sometimes made provided by (left) the GPS receiver, ing accessand can see onlineusers. This builds to numerous players’ and other run- (a) housed in a central building in the game getting a GPS fix more difficult. In both on the approach of on a handheld map, see the ners’ positions staging public per- zone (along with six public terminals for environments, we had black spots, (middle) the network connection players’ text messages, and communicate formances as a research method that local online players). This three-person where multipath reflections led to par- with one another using walkie-talkies. technical crew in the control room ran ticularly high errors and, thus, large • strength, and (right) the number of we’ve developed since 1996.4 The game delivers the runners’ inter- and managed the online server and sup- jumps in the reported position. 5 online players in the game. face on for Jornada is a chase The conceptan HP CYSMN handheld com- game. Three runners, who nearby building puter from a server in a are profes- over an 802.11b wireless local area net- sional performers, run through actual ported the runners. This team used, for example, a game space overview and interfaces for managing queuing players, Our second major uncertainty arose from the use of 802.11b networking. We had only partial coverage even though work. A GPS receiver plugged into the monitoring the wireless network, dis- we invested considerable effort in de- city streets equipped with handheld com- puters, wireless network connections ploying 802.11b in both game zones. 36 PERVASIVE computing (using 802.11b), and Global Positioning http://computer.org/pervasive (We deployed an 8 m mast on a rooftop System receivers. They chase up to 15 online players through a virtual model supplemented by two omni antennas in of a city. Sheffield. In Rotterdam, we deployed a (a) (b) The online players’ experience network of seven wireless access points: Online players can move through the four on buildings and one each on a model with a fixed maximum speed, (b) lamppost, van, and ship.) Consequently, ning; consequently, their equipment suf- access a city map view, see other players’ The players and runners’ positions, and exchange 2009 10 28 runners would move in and out of con- fered a battering) and soft failures such text messages with them. around this model. They cannot enterreceived, and and out of the ga Overall, CYSMN was well the player is seen
  4. 4. GPS ↓ 2009 10 28
  5. 5. • • →GPS 2009 10 28
  6. 6. a parallel 3D model of the same city, areindividual street the messages to able to follow players or listen to thei progress of street players, can communicate with them and recently uploaded audio message. can choose to help or hinder them. The core artistic theme of the work is trust in strangers – be they remote players, Figure 2: follo Uncle Roy All Around You Uncle Roy or passersby. An mpeg video of Uncle Roy is The clues are available at www.crg.cs.nott.ac.uk/~sdb/videos automated voi In this paper, we describe a third performance calledstreet player’s experience park and into the narrow city streets in to dif A Uncle them through the attached Street players search of their eventual goal – Uncle Roy’s office. gets an initia Roy All Around You. This also takes the form of a game purchase a ticket for an experience that will that mixes online players with street players. However,for a maximum of one hour. On arrival at the venue last this themselves to b time the members of the public are on the streets using over all of their personal possessions including they hand on subsequent bags, wallets, mobile phones and keys, in exchange for a mobile devices as well as online, with actors only appearing that Uncle Ro at key moments. Furthermore, the game has handheld computer, a ritual that is intended to increase their a more ambiguous – s • Uncle Roynuanced structure through the city.thesense of anticipation, vulnerability, dependence on Uncle complex and chase with a mysterious journey which replaces frenetic Roy and isolation and disconnection from the everyday others are mis encouraging p THE DESIGN OF UNCLE ROY ALL AROUND YOU experience of the city. An actor briefs them that their history of the Figure 7: online player’s interface: the game, heig own avatar Uncle Roy All Around You mixes street players whois to rendezvous with Unclestreet and explains how mission figure), Roy player cards (right), street player’s po journey through a city in search of an elusive character handheld computer. They then head out into the to use the casting doubt (red a nearbyand text message boxes (bottom). sphere) park. • called Uncle Roy, with online players who journeycity, cross a busy road and enter through especially the a parallel 3D model of the same city, are able to follow the task is to find a red marker on the PDA map, objects as they explor Their first Online players find photo to constantly rem progress of street players, can communicate with themto the physical location that this indicates, and thenthe displaythe clock i get and model. Entering these triggers that of photog can choose to help or hinder them. The core artistic theme from the actual city streets at this location, one of wh Good. I wa declare their position to Uncle Roy. Street players declare • labeled as Uncle Roy’s office and shows an image of the work is trust in strangers – be they remotetheir position by using the stylus clues in search of Uncleon players, Figure 2: following to drag the ‘me’ icon Roy’s office Uncle Roy or passersby. An mpeg video of Uncle Roy is map to clues current location and (Uncle Roy is therefore the their PDA Watch a tou There are distinctive office door (figure 8). In this buildings.p way, online The their are can find out usefulthen pressing street players. preprogrammed information for available at www.crg.cs.nott.ac.uk/~sdb/videos the ‘I am here’automated voice of the game, not a live actor) and areare do button (figure 1). You Palace. Aft A street player’s experience attached to different zones of the game map. A street player You h here. Street players purchase a ticket for an experience that will gets an initial clue the first time that they declare not aIt’s • last for a maximum of one hour. On arrival at the venue they hand over all of their personal possessions including always been themselves to be in a region and a second and different clue – o square on subsequent declarations. A key feature of the game is down i Walk bags, wallets, mobile phones and keys, in exchange for a that Uncle Roy’s clues are deliberately designedAnd be to when the handheld computer, a ritual that is intended to increase their ambiguous – some are relatively direct and useful, while Roy’s office: → sense of anticipation, vulnerability, dependence on Uncle others are misleading to the point of being mischievous, Go to numb Roy and isolation and disconnection from the everyday encouraging players to follow diversions, drawing on the buzzer mark experience of the city. An actor briefs them that their history of the local environment, implicating passersby in mission is to rendezvous with Uncle Roy and explains how the game, heightening the sense of being watched and also perf The first to use the handheld computer. They then head out into the casting doubt on the intent and personality of Uncle Roy, of rou London city, cross a busy road and enter a nearby park. North-South, c especially the extent to which he can be trusted. Clues also (the hosting ve constantly remind players that they are on limited time and Their first task is to find a red marker on the PDA map, to Figure 8: Accessing a photo of the office door Figure 1: streetthat the clock iszoomed out and in of clues include: the narrow stre player’s map, ticking. Examples get to the physical location that this indicates, and then Street players’ estimated positions as they move throu declare their position to Uncle Roy. Street players declare they Watch aIthey receive ato the texttowards the There were 49 Whenever do this, want you short Good. walk message Mall. tourist cross as pulsingand follow in the 3D mode city are shown road red spheres them. 2009 10 28 their position by using the stylus to drag the ‘me’back from Uncle Roy that provides them with a clue as to icon on There are some hidden steps among from roughly 1 the below for a discussion of our approach to positio
  7. 7. • GPS • GMS • 5 iPhone DGRadar • (1) (2) • 2009 10 28
  8. 8. ( ) 2009 10 28
  9. 9. • Can You See Me Now? • GPS • CYSMN: • : • • CYSMN: • : → ( ) 2009 10 28
  10. 10. • GPS • : 06 B: ( ) • 07 A: ::(.) :: (2.9) ( 08 A: (2.6) ) 09 B: :: 10 A: • Can You See Me Now: 11 B: Runner 2 on walkie-talkie: Runner 2. I’m in pursuit of Dave. He runs along a side- street, consulting the Jornada as he goes, turning left at the end of the street • iPhone 2 and going down Wilamena before slowing to a walk. Runner 2 on walkie-talkie: Runner 2. I’m heading seawards on Wilamena, waiting for a server update. 2009 10 28
  11. 11. • 300m • • 2009 10 28
  12. 12. 2 • • • 2009 10 28

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