Pausch, R., Snoddy, J., Taylor, R., Watson, S., &Haseltine, E. (1996). Disney's Aladdin: First steps toward storytelling in virtual reality. ACM SIGGRAPH 96 Conference Proceedings (pp. 193--203).  Home/Search   Document Not in Database   Summary   Related Articles   Check

....what constitutes interactive entertainment is subjective. For instance, all of the following can probably be considered a form of interactive entertainment: participating in an academic debate, coming to bat in a baseball game, and riding a magic carpet in Disney s virtual theme ride Aladdin [Pausch et al. 1996]. For the purposes of this dissertation, the discussion is limited to interactive entertainment in the computer based domain. But even this encompasses a broad range of applications, including early adventure games, hypertext stories, video games, multi user dungeons (MUDs) Weyhrauch, 1997] and ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., Haseltine, E. Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality. In Computer Graphics Proceedings, Annual Conference Series, 1996.

....character driven by the participant s action recognition. 1. Introduction The recent years have seen a surge of interest for immersive interaction in virtual worlds. The possibilities to direct or to interact with virtual characters are decisive aspects for the participant to suspend disbelief [BG95, PSTWH96, PG96]. Because of its intuitive nature, a gesture based interface is appealing for both novice and experienced users [R91] Various techniques have been proposed to interpret the participant s motion. Newby uses statistical classification of hand postures to identify the American Sign Language [N94] ....

R. Pausch, J. Snoddy, R. Taylor, S. Watson, E. Haseltine, Disney's Aladdin: First Steps Towards Storytelling in Virtual Reality, SIGGRAPH'96, pp 193-203

....condition, participants were shown a head mounted display, and its function was explained. Then the experimenter fit the headmounted display device to a participant s head. Because nausea was a concern, and because higher temperatures can promote motion sickness while viewing a virtual environment [13], two box fans were used to blow air on participants in all three conditions. Navigation through the virtual environments was restricted to ground level navigation; that is, participants were not able to fly. Practice Environment Participants first experienced a practice virtual environment, ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S. and Haseltine, E. Disney's Aladdin: first steps toward storytelling in virtual reality. Proceedings of the 23rd Annual Conference on Computer Graphics, (1996), 193-203.

....relationships. 1.3.2 Behavior Modeling Autonomous agents and characters form the heart of an engaging, interactive virtual environment experience. Realistic agent behavior contributes to suspension of disbelief on the subject s behalf and brings the subject into the virtual environment [51, 39]. The autonomous characters and behavior models we create for individual agents are instilled with a basic competence to perform required actions and with the agility to engage in realistic interactions with unpredictable subjects. To accept direction, we program agents with public interfaces ....

.... Plot Although, our immediate research interest is in creating controlled situations for studies of human behavior in driving and bicycle riding simulations we anticipate the 23 techniques will also find application in other areas such as plot control in interactive fiction [5, 34] story telling [51], training, and game play. The main distinction between scenario control methodologies and interactive stories is the focus of the simulation. In scenario modeling for driving simulation environments, the entire scenario revolves around the actions of the subject. The scenario director s role ....

R. Pausch, J. Snoddy, R. Taylor, S. Watson, and E. Haseltine. Disney's aladdin: First steps toward storytelling in virtual reality. In SIGGRAPH 96, pages 193--203, August 1996.

....environments should now focus on content in order to make virtual worlds become not only more vivid but also more responsive. This becomes obvious in application domains which highly depend not only on output media quality but . on realistic storytelling for example Disney s Aladdin system [12] or . on high interactivity like in assembly planning (example see below) where the realistic behavior of the system is more important than the actual visual quality of the objects. The paper is organized as follows: In section 2 we discuss requirements for modern VR development systems and how ....

Pausch, R., Snoddy, J.,Taylor, R., Watson, S., Haseltine, E., Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality, Proc. ACM SIGGRAPH, (New Orleans 1996).

....personalities which can perform, and interact with human participants, for example [3] 4] 5] 6] Another goal is the exploitation of the medium for story telling. For example, Disney s Aladdin immersed and allowed participants to interactively explore a virtual world based on the animated movie [7]. More recently the VRMLDream company created a performance with actors directly controlling virtual characters 1 . This simulated a traditional drama, except that it occurred entirely in a distributed VE. Viewers could navigate the scenario with a standard VRML browser, and thus choose their ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., Haseltine, E. (1996) Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality, Computer Graphics Proceedings (SIGGRAPH), 193-203.

....restrict the social communication channel massively. Lot of expectation surrounds virtual reality (VR) technology to bring new solutions to gaming with computers. Observations shows results against these expectations, however the technology is appealing and everyone wants a personal experience [Pausch, 1996]. Pausch et al. came to the conclusion that it is possible to suspend disbelief. Yet to convince players is very hard, even with a familiar content and story presented with high fidelity hardware. Distributed multi user VR systems like DIVE [Carlsson, 1993] try to incorporate communication for ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., Haseltine, E., Disney's Aladdin: First Steps Towards Storytelling in Virtual Reality, Computer Graphics, SIGGRAPH `96 Conference Proceedings, 1996, pp.193-203.

....Assumptions about users. Similarly, incorrect assumptions about the user or operator of a system can lead to an unsafe system. For example, in testing a ride for a software generated, virtual reality amusement park, Disney discovered that users were having problems flying their magic carpet [Pausch et al. 1996]. Some users felt that they were upside down when they weren t, got dizzy, or even fainted. The software allowed so much freedom in navigating the carpet that users sometimes became disoriented. Significant human factors research tries to establish accurate assumptions and benchmarks for such ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., and Haseltine, E. 1996. Disney's Aladdin: First steps toward storytelling in virtual reality. In Proc Siggraph (1996), pp. 193--203.

....will lead to more natural and effective humancomputer interfaces. Promising results in several key application domains have been demonstrated: Domain Example Applications Being There , experience for the sake of experience Phobia therapy: Rothbaum 1995] Aesthetics: Davies 1996] Entertainment: [Pausch 1996] Training and practice of different skills Surgery: Hunter 1993] Military : Macedonia 1994] Maintenance: Wilson 1995] Wayfinding: Witmer 1995] Visualization of unrealized or unseeable objects Architecture: Brooks 1986] Fluid Flow: Bryson 1992] Nano surfaces: Taylor 1993] Design 3D models: ....

Pausch, R., J. Snoddy, R. Taylor, S. Watson and E. Haseltine. "Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality." Proceedings of SIGGRAPH 96, New Orleans, LA, ACM: 193-202.

....including Raydream Studio and WorldUp. Creating an Opening Scene Users select objects from an object gallery displayed by clicking the add object button (figure 2, A) Alice s library contains hundreds of low polygon models whose high fidelity comes from carefully hand painted texture maps [15]. Note that while Alice users can import objects in several popular file formats, Alice itself is not a CAD tool for creating object geometry: Alice is a tool for describing the time based and interactive behavior of 3D objects. Objects are placed in a PHIGS like tree of nested objects [2] 23] ....

....keyword parameter, as in: bunny.move(forward, 1, AsSeenBy=chair) Users can also use this mechanism to work in a global coordinate system by using the Scene as the reference object. Alice provides a default Scene object for every world. Inspired by Alice, Disney Imagineering s Player system [15] and Microsoft s Direct 3D graphics libraries have both added this mechanism to their systems. Both are excellent examples of improving a system for experts based on lessons learned from a system for novices. Beyond Translate, Rotate, and Scale The Alice system provides commands that go beyond ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., and Haseltine, E. Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality. ACM SIGGRAPH 96 Conference Proceedings, August 1996.

....30 to 60 seconds, depending on the complexity of the world. We need to develop methods to shorten this time, especially for entertainment applications where the guest s experience is only 4 5 minutes long. 2. Guests do not turn their heads, as documented in Disney Imagineering s Aladdin project (Pausch, et al. 1996). We do not believe that guests failed to turn their heads simply because of the weight of the HMD or because they were engaged in flying. Other researchers have commented on this phenomenon (Fred Brooks, personal communication) and our experience is that guests have been trained by viewing ....

....artistic purposes, but most of the literature describing this work does not discuss the guest experience beyond describing the virtual world itself. Instead, this body of literature focuses on the engineering, artistic purposes, and scientific implications of these systems. Azuma, et al. 1994) (Pausch, et al. 1996), and (Davies 1995) are representative of this body of work. There are now several commercial HMD based attractions. The Fire Bull attraction at Joypolis (Joypolis 1997) also uses cameras to create a see through HMD. Two guests sit in a helicopter pod where all the window surfaces are green. ....

Pausch, R., Snoddy, J., Taylor, R., Watson, S., & Haseltine, E. (1996). Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality. ACM SIGGRAPH 96 Conference Proceedings, August 1996.

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Pausch, R., Snoddy, J., Taylor, R., Watson, S., &Haseltine, E. (1996). Disney's Aladdin: First steps toward storytelling in virtual reality. ACM SIGGRAPH 96 Conference Proceedings (pp. 193--203).

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R. Pausch et al., "Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality," Proc. Siggraph 1996, ACM Press, New York, 1996, pp. 193-203.

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#56# R. Pausch, J. Snoddy,R.Taylor, S. Watson, and E. Haseltine. Disney's Aladdin: First steps toward storytelling in virtual reality.InProc Siggraph, pages 193#

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R. Pausch, J. Snoddy, E. Hazeltine, R. Taylor, and S. Watson. Disney's Aladdin: First steps toward storytelling in virtual reality. Proceedings of SIGGRAPH 96, pages 193--204, 1996.

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Randy Pausch, Jon Snoddy, Robert Taylor, Scott Watson, and Eric Haseltine. Disney's Aladdin: First Steps Toward Storytelling in Virtual Reality. SIGGRAPH 1996 Proceedings, pages 193-203.

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