Moss creators reflect on five years of PS VR

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Moss creators reflect on five years of PS VR

Polyarc developers also discuss expanding on the joy of emotional feedback and the thrill of physical interaction in Moss: Book II.

Shuhei Yoshida, head of PlayStation Indies, Sony Interactive Entertainment, introduced the world to PlayStation VR by stating that it was going to be “the next innovation from PlayStation that will [shape] the future of games.” And boy was he right.

For the past five years, PlayStation VR has provided the industry, specifically VR developers like us, with an incredible opportunity to create worlds and games that push entertainment and emotional connection beyond what today’s more traditional game technologies provide. VR is the only platform that truly immerses players in other worlds, allowing them to be a part of a narrative experience. You are a part of the story. Characters look at, converse with, and react to you. Not only do you have presence in beautifully rendered worlds, but you can also interact with the world in a physical way that feels intuitive and true. For instance, in Moss, whether it’s dragging a giant, heavy device to solve a puzzle, or poking hanging vines to sway them back and forth, players convince themselves that they are interacting with a genuine world. That is, until they take off their headset.

But it’s not just the physical interaction that makes VR special, it’s also the emotional connections that you make with virtual characters. When developing Moss for PlayStation VR, we learned that VR gives players the ability to build deep connections with characters over time through shared experiences. And in doing so, players believe that this connection is real—because, it kind of… is. These connections and the emotions they elicit—excitement, joy, and even heartbreak—are mind-opening for players who didn’t know they could feel so strongly within a digital experience.

Since releasing Moss on PlayStation VR in 2018, we’ve continued to experiment, learn, and advance our understanding of VR. In fact, Tyler Walters, principal technical artist, and Richard Lico, animation director, have provided a quick behind-the-scenes look at the work we’re doing to enhance both the thrill of physical interaction, and the joy of emotional connection, in Moss: Book II.

Tyler Walters: Moss proved that dynamic interactive visuals are very enjoyable and rewarding in VR. With additional team members on Moss: Book II, we found an opportunity to create many more visual effect systems and shaders that can only be experienced at their fullest within VR. This ranges from snowflakes falling in the mountains, to candle flames that move around as the player creates wind with their hands. Each of these systems create a different mood and sensation, so much so that some of us even feel colder while playing in the snowy levels of the game.

We’ve also added a new player ability that allows players to grow traversable foliage for Quill in the game. This includes a vine bridge that enables Quill to access different sections of the game. Relative to Moss device interactions, we wanted this to feel more fluid and expressive. To bring this to life, once the player initiates a bridge to grow, mossy vines spiral out to form a walkable surface, which then blooms little white flowers on top. In the world of Moss, no detail is too small.

Speaking of details, the library and book from Moss were essential narrative tools that acted as glue for the story structure. We’ve taken this formula and improved upon it for Moss: Book II. Now, players will find meticulously hand-painted artwork, audio, and visual effects that move and evolve as the story progresses. Some pages even have dynamic content that interacts with the player as they move around.

Richard Lico: In Moss, we spent time and effort to animate certain book pages. They were little snippets to highlight important moments where the characters on the page would animate like a film. Even though this approach was a strong, visually striking story tool that helped us tell more story on a single page, we noticed that players didn’t often react to seeing them. In fact, we were unable to support the animated pages in the book when porting Moss to another platform, and nobody seemed to notice. Couple that with how much people loved Quill and her reactions to in-game moments, and it became obvious that we needed to enhance the book experience like Tyler said, as well as shift additional resources to what makes Quill’s role in the game so special.

While playing Moss, players often found Quill acting autonomously to tell them how she felt or what she was thinking. For Book II, we decided to expand on this, giving her significantly more robust in-game story moments that seamlessly weave in and out of gameplay. We still have plenty of story being told in the book, but the more intimate emotional spikes will now happen organically in the game with you standing by Quill’s side. In Book II, Quill will have an even wider range of emotional performances for you to experience.  

This added range required us to change a few things from Moss. We’ve doubled the animation team size from one to two animators. We’ve reconstructed Quill’s face so she’s capable of a wider range of expression. And our engineering team built new systems to support all of the various ways in which we need to use these organic in-game performances. We believe all of this will help deepen the bond players feel with Quill in Book II.

Yet hearing about these changes isn’t the same as experiencing them in VR, and we simply cannot wait for players to re-enter the world of Moss and see it all for themselves in Book II. We remain excited and eager to further build upon these enhancements and discover new ways for players to experience physical interaction, emotional feedback, and object persistence. We’re thrilled to continue that work as we imagine what’s possible for the future.

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  • How does the PSVR shape the future for games? By using less graphical fidelity? Having shallow experiences? Or, was he talking about how frustrated you would be as a developer trying to develop with mass limitations?

  • If you think they are shallow experiences then either you’ve never use it or you tried the wrong games.
    Less graphical fidelity sure but it’s about the experience of being in the world not about how shiny the graphics are. I mean hell one of the most popular game styles is a 16bit modernized aren’t style.
    Incase you haven’t been aware VR is still huge and Sony already announced the next generation of VR being developed.

    • What are you comparing these games to? They ARE shallow experiences.

      Thee most popular game style is high fidelity, AAA – like cyberpunk, horizon, GoW, etc.

      “.. the experience of being in the world” – you think PS is the only and best way? Have you played HL:Alyx?

      VR isn’t as “huge” as you may be thinking.

    • People were also really excited for Vita. Don’t forget who’s running PS right now.

    • But the gameplay is usually a shallow. I dont remember playing good complex VR game that could even compare to full TV games in fun and complexity (is there anything that would compare to GTA, Gow of War, Souls games, etc in VR? Im aware of three game – skyrim, re7, hitman and all of them were more fun on TV)
      The main feature if these games is just that gimmick “omg Im inside the game world”. But that gets old pretty quick once you realize the game selection is poor and how uncomfortable the VR gaming is (requirement to have the huge headset on, weird controls for movement)

  • VR is a platform that needs to be handled right, if it’s to work. Moss is a prime example of the right way of using VR. That game was purely Awesome. I can’t wait to dive into the lovely world of MOSS again.

  • “In fact, we were unable to support the animated pages in the book when porting Moss to another platform, and nobody seemed to notice.”

    This sentence chokes me up! The only people who may have noticed this difference between a competing standalone headset version and the PSVR version are those who have had both headsets. I can guarantee you, however, that I saw very clearly that there were no animations on the standalone headset pages!

    Some say the standalone is prettier… Many don’t know the difference between a blurry game and a game that has nice graphics. A The Last Of Us 2 will still look great even in 720P, it will just be blurrier because the screen is smaller! A Minecraft in 4K will be sharp but will keep simple graphics… In the case of Moss, the PS4 PRO VR version is much more worked than its standalone VR competitor! But we almost feel that they try to make us believe that it is the opposite! and it does not pass!

    That’s what worries me the most… that wireless will push the market down (because of its lack of power). No one would have the idea of offering PS VITA games on a PS4?… yet that’s what’s happening on PC and PS4 in VR right now… Some VR games developed for a standalone headset are re-balanced almost identically on a machine 30 times more powerful (the PS5 or a PC with an RTX 3090). I’m thinking of Freediver Triton Down, TWD Onslaught, Layers of Fear, Eclipse or maybe soon Wraith The Oblivion (which offers almost the same thing on PC and standalone headset).
    I make a difference between a PC game, a console game and a game on a standalone headset even if the standalone headset can run and show PC games. (The vita can run The last Of US 2)

    Just because no one complained about the graphics of Golden Abyss on Vita, doesn’t mean you should remove elements on Uncharted 4 that no one noticed…
    If some people decide to follow Netflix’s line, I hope on the contrary that PlayStation will go the way of HBO!

    The graphic quality is an important part of the immersion in VR. And it’s precisely those little details that make a game great! Leveling down due to lack of power cannot become a standard, just for economic reasons… because it will show! Gamers didn’t pay for a PS4 PRO to play standalone headset VR games… so I really hope developers continue to work on these kind of IMPORTANT little details that make a difference. And that’s just the case with POLYARC, which is a studio that has worked hard to come up with versions of their game that are tailored to each platform!

    Standalone VR players probably didn’t see the animations in the pages, PlayStation VR players and PC players saw them though ;D

    POLYARC: Don’t change anything on Book 2! Keep up the good work! “and nobody seemed to notice.” Yes they did!

    • I agree 👍 with you they shouldn’t change anything but if the book is going to be better it’s fine I own moss and I love the game hell I love psvr can’t wait until psvr2 and being able to play moss book 2 great comment bro

  • I know it is too soon to have an answer, but I wonder if it will be compatible with PSVR2 in the future…

  • I love my PSVR, thank you Sony for all the great experiences! I can’t wait for Moss Book II!!!

  • Please make sure your game doesn’t cost £69.99 at release – otherwise I’m not touching it with a barge-pole 😊👍. £59.99 is also a joke.

  • I’ve LOVED PSVR Ever Since “Focus On YOU”. A truly Hardcore experience for people woh want to get close to the art. Absolutly Loved the first Moss game and While I can’t Wait for the second book.
    I’m still highly Disappointed in The Lack of truly hardcore VR experiences like; “Focus on You”, until You fall”, “GT sport (VR Version)” I want Focus on you games to be the norm For Hardcore VR gamers so that People like me can scratch That Virtual reality space edge we so desperately crave.

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