Before you can actually play, there are a few things you need to do. Here are some tips for getting everything set up because the Quest 2 interface is not always the easiest to navigate.
Set your boundary. The last thing you want while playing is to run into an object in your room while essentially blindfolded. Your Quest 2 will guide you through the process of setting up your boundary. Roomscale lets you draw a play space to move freely, Stationary when you’re standing still. But what if you move locations? Or want to play a game sitting down instead of standing up?
To change your boundary, press the Oculus button on your right controller (it’s the one just underneath the joystick). This pulls up the menu at the bottom of the screen (you only have to do this if the menu isn’t already showing up). From there, if you hover over the clock, you can choose the Quick Settings panel. Then choose Guardian. If you pick Stationary, you just have to hit confirm and you’re all set. If you pick Roomscale, it’ll guide you through drawing a new Guardian boundary.
Buy the games. To buy games for the Quest 2, you only really have one option: The Meta Quest Store. But there are three ways to do it. Regardless of which option you pick, you need to have a payment method on file (credit card, debit card, or PayPal). The browser method is the easiest way to enter these details.
Browser: Log in to the store. From there, you can either type the name of the game into the search bar on the top right or click “Apps & Games” to browse. Once you’ve chosen a game, there is a blue button on the right of its info page that lists its price. Hit that and it’ll prompt you to purchase.
App: Download the Oculus app and log in to your account. Click on the Store button on the bottom left and, as with the browser steps, you can either scroll through or search for a specific title. Once you’ve clicked on a game, the app uses the same button with a price system at the bottom of the screen. Just click on the button, review the payment details, and hit purchase.
Headset: With the headset on, bring up the bottom menu again. The Store icon is the orange one with a little shopping bag. Click on this, and you have the option of browsing through games or search. Once you’ve picked a game and are looking at its info page, hit the blue button on the right with the price marker to purchase.
Note: If the game is free, the blue button will say “Get” rather than listing a price. And if you purchase the game via a browser or the app, you will still need to download it on your headset. See the next step for instructions.
Download and access your games. Once you’ve purchased a game, you need to download it. If you purchased it through the Store on your headset, the download should automatically start. Once it’s done, the button will change to “Play” so you can jump right in.
If you purchased the game via the browser or app, head to the Store on your headset and search for the game. The store will list it as “Purchased,” but when you click on its info page the blue button will have changed from listing the price to saying “Download.” Hit that and it will automatically show you the download’s progress bar.
To access all of your games—both purchased and downloaded—bring up the bottom menu bar by hitting the Oculus button on that right controller. From there, click on the “Apps” button on the right (the one with the nine dots). This will show you all of your purchases, and you can filter to see just the ones that are installed or the ones that aren’t. Click on the game’s icon and it should load right up.
Recenter your screen. Occasionally, you’ll find that your screen is no longer centered the way you want it. Maybe you took off your headset to check your phone or drink some water, or maybe you’re in-game and want to change your orientation. To do this, hit the Oculus button on the right controller, then enter the Quick Settings menu by clicking on the left where it shows the time. Underneath the Wi-Fi is a button that says “Reset View.” Click on this and it will prompt you to move your head to where you want the screen to be, then hit confirm once it’s in the right spot.
Check your battery life. When fully charged, the Quest 2’s battery normally lasts around two hours. If you’re not sure how much juice your headset has left, hit the Oculus button on the right controller to bring up the bottom menu. On the left, underneath the clock, is a little battery icon that gives you a rough gauge of your charge. If you click on it, it brings up the Quick Settings screen. In the top left is the exact percentage, as well as that of each of your controllers.
If you need evidence that Apple is working on a mixed-reality headset, take a spin with the HoloKit X. Created by Botao Amber Hu, a developer who has worked at companies like DJI, Google, and Twitter and is now CEO and founder of Holo Interactive, this headset relies entirely on existing capabilities of the iPhone to create interactive hands-free augmented reality experiences. It’s a powerful showcase of what’s possible if Apple ever made a headset using the tech already embedded in its smartphone.
Any such headset to come out of Cupertino would almost certainly cost more than a thousand dollars. (This is Apple, after all.) Look at Meta’s newest mixed-reality headset for reference; it starts at $1,499. Headsets in Microsoft’s XR platform cost between $600 and $1,000. These high prices are why the HoloKit X exists. Hu, who has long had a special interest in future computing and new media art, says he wants to “democratize” the world of mixed reality. As such, the HoloKit X costs $129, and all you need is a recent iPhone (excluding iPhone Mini and iPhone SE models) to power it.
An iPhone on Your Head
The HoloKit X is a plasticky headset with optical lenses inside. There’s no technology here (save for an NFC sensor, but more on that later). Just think of it as a viewer, not unlike old-school View-Masters. Similar to mobile virtual reality headsets like Google Cardboard, Lenovo’s AR set for Star Wars games, or the now-defunct Google Daydream, you need to mount an iPhone onto the HoloKit X.
Photograph: HoloKit
Unlike VR headsets, you’re not staring at a screen. The iPhone is mounted up and away from your eyes. Instead, you’re looking through the glass in a 60-degree field of view and can see the physical world as well as the people around you. The iPhone’s screen, while using the rear cameras to manage these AR experiences, is mirrored in stereoscopic vision to the lenses, making it so that you can effectively see virtual 3D objects embedded in the real world.
Exactly what you can do with the HoloKit X is limited right now. There are just a handful of experiences—what Hu calls “Realities”—in the HoloKit app, one of which is a multiplayer dueling game where you cast spells at an enemy. The visuals are clear, colorful, and pretty sharp, and the platform supports six degrees of freedom via Apple’s ARKit framework. Because of this, you can move around virtual objects and they will stay anchored in the real-world places where you position them. And when you’re playing a game, you can even duck to dodge blasts. The “enemy” can be another person using a HoloKit X in a shared space, a virtual character, or even a character controlled by someone with just an iPhone.
Since it’s entirely powered by an iPhone, the HoloKit app is leveraging existing technologies. The ability to play a game with other HoloKit X users, for example, doesn’t rely on cellular data or Wi-Fi, but rather the local networking technology that powers AirDrop. This is also what powers “Spectator View,” which allows anyone to use an iPhone and the HoloKit app to view your augmented reality experience in real time by pointing their phone at the scene. (You can record and share this to social media, or cast it via AirPlay to a TV for others to see.) Hu says Holo Interactive is also working on a Puppeteer mode that would enable someone else to direct your AR experience.
There are a few ways to interact with the augmented reality experience. The HoloKit app uses Apple’s Vision framework technology to identify and track your hand. I didn’t see a demo of this, but the idea is that you can just use your hands to interact with objects and the iPhone’s cameras will recognize your hand movements. Hu says HoloKit also supports any Bluetooth device that can connect to the iPhone, like PlayStation controllers.
What I did demo was the ability to use an Apple Watch’s gyroscope as a motion controller, just like a Wiimote. Hu strapped an Apple Watch to my wrist (it works with Watch Series 4 and newer) with the HoloKit watch app installed and running, and gave me a wand purely so I could feel like I was using it to shoot out spells. Lo and behold, I was able to cast spells with mere gestures or a flick of the wrist. I could even point my wand downward to load a charging bar and trigger a more powerful spell. Aiding the immersion is the use of spatial audio via any of Apple’s headphones that support that feature, so you can hear a spell whizzing past your right ear. The iPhone’s haptic vibration adds another layer of sensory input, but since the phone is mounted in the headset, it’s only vibrating up near your forehead, so you may not immediately sense it.
You can use the HoloKit X with an iPhone XS, XS Max, iPhone 11, iPhone 11 Pro and 11 Pro Max, iPhone 12, iPhone 12 Pro and 12 Pro Max, iPhone 13, and iPhone 13 and 13 Pro Max, iPhone 14, and iPhone 14 and 14 Pro Max. (You’ll need to take off your case so it will fit.) You’ll get the best experience with an iPhone that has a lidar sensor, which became a staple on the Pro models—starting with the iPhone 12 series.
When actual VR took root in our minds as an all-encompassing simulacrum is a little fuzzier. As with most technological breakthroughs, the vision likely began with science fiction—specifically Stanley G. Weinbaum’s 1935 short story “Pygmalion’s Spectacles,” in which a scientist devises a pair of glasses that can “make it so that you are in the story, you speak to the shadows, and the shadows reply, and instead of being on a screen, the story is all about you, and you are in it.”
Moving beyond stereoscopes and toward those magical glasses took a little more time, however. In the late 1960s, a University of Utah computer science professor named Ivan Sutherland—who had invented Sketchpad, the predecessor of the first graphic computer interface, as an MIT student—created a contraption called the Sword of Damocles.
The name was fitting: The Sword of Damocles was so large it had to be suspended from the ceiling. Nonetheless, it was the first “head-mounted display”; users who had its twin screens attached to their head could look around the room and see a virtual 3D cube hovering in midair. (Because you could also see your real-world surroundings, this was more like AR than VR, but it remains the inspiration for both technologies.)
Sutherland and his colleague David Evans eventually joined the private sector, adapting their work to flight simulator products. The Air Force and NASA were both actively researching head-mounted displays as well, leading to massive helmets that could envelop pilots and astronauts in the illusion of 360-degree space. Inside the helmets, pilots could see a digital simulation of the world outside their plane, with their instruments superimposed in 3D over the display; when they moved their heads the display would shift, reflecting whatever part of the world they were “looking” at.
None of this technology had a true name, though—at least not until the 1980s, when a twenty-something college dropout named Jaron Lanier dubbed it “virtual reality.” (The phrase was first used by French playwright Antonio Artaud in a 1933 essay.) The company Lanier cofounded, VPL Research, created the first official products that could deliver VR: the EyePhone (yup), the DataGlove, and the DataSuit. They delivered a compelling, if graphically primitive, experience, but they were slow, uncomfortable, and—at more than $350,000 for a full setup for two people, including the computer to run it all—prohibitively expensive.
Yet, led by VPL’s promise and fueled by sci-fi writers, VR captured the popular imagination in the first half of the 1990s. If you didn’t read Neal Stephenson’s 1992 novel Snow Crash, you may have seen the movie Lawnmower Man that same year—a divine piece of schlock that featured VPL’s gear (and was so far removed from the Stephen King short story it purported to adapt that King sued to have his name removed from the poster). It wasn’t just colonizing genre movies or speculative fiction: VR figured prominently in syndicated live-action kiddie fare like VR Troopers, and even popped up in episodes of Murder She Wrote and Mad About You.
In the real world, virtual reality was promised to gamers everywhere. In arcades and malls, Virtuality pods let people play short VR games (remember Dactyl Nightmare?); in living rooms, Nintendo called its 3D videogame system “Virtual Boy,” conveniently ignoring the fact that the headsets delivered headaches rather than actual VR. (The Virtual Boy was discontinued six months after release.) VR proved unable to deliver on its promise, and its cultural presence eventually dried up. Research continued in academia and private-sector labs, but VR simply ceased to exist as a viable consumer technology.
Then the smartphone came along.
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Phones featured compact high-resolution displays; they contained tiny gyroscopes and accelerometers; they boasted mobile processors that could handle 3D graphics. And all of a sudden, the hardware limitations that stood in the way of VR weren’t a problem anymore.
In 2012, id Software cofounder and virtual-reality aficionado, John Carmack, came to the E3 videogame trade show with a special surprise: He had borrowed a prototype of a headset created by a 19-year-old VR enthusiast named Palmer Luckey and hacked it to run a VR version of the game Doom. Its face was covered with duct tape, and a strap ripped from a pair of Oakley ski goggles was all that held it to your head, but it worked. When people put on the headset, they found themselves surrounded by the 3D graphics they’d normally see on a TV or monitor. They weren’t just playing Doom—they were inside it.
Things happened fast after that. Luckey’s company, Oculus, raised more than $2 million on Kickstarter to produce the headset, which he called the Oculus Rift. In 2014, Facebook purchased Oculus for nearly $3 billion. (“Oculus has the chance to create the most social platform ever, and change the way we work, play and communicate,” Mark Zuckerberg said at the time.)
In 2016, the first wave of dedicated consumer VR headsets arrived, though all three were effectively peripherals rather than full systems: The Oculus Rift and the HTC Vive each connected to high-powered PCs, and the PlayStation VR system ran off a PlayStation 4 game console. In 2018, the first “stand-alone” headsets hit the market. They don’t connect to a computer or depend on your smartphone to supply the display and processing; they’re self-contained, all-in-one devices that make VR truly easy to use for the first time ever.
In 2020 the world of VR is going to be defined by these stand-alone headsets. The tethered-to-a-desktop headsets are still a high-end option for die-hards looking for the highest fidelity experiences possible, but an untethered stand-alone headset delivers on the promise of deeply immersive VR in the way previous tethered versions just haven’t—at least not without spending serious cash on hardware and accessories. The first next-gen stand-alone headsets are starting to hit store shelves already. Oculus released its version, the Oculus Quest, back in May 2019, and HTC is poised to release a modular competitor, the Vive Cosmos Play, later this year.
The Future of VR
What all this is for is a question that doesn’t have a single answer. The easiest but least satisfying response is that it’s for everything. Beyond games and other interactive entertainment, VR shows promising applications for pain relief and PTSD, for education and design, for both telecommuting and office work. Thanks to “embodied presence”—you occupy an avatar in virtual space—social VR is not just more immersive than any digitally mediated communication we’ve ever experienced, but more affecting as well. The experiences we have virtually, from our reactions to our surroundings to the quality of our interactions, are stored and retrieved in our brains like any other experiential memory.
All hail the headset. Or, alternatively, all ignore the headset, because it’s gonna be a dismal failure anyway.
That’s pretty much the conversation around virtual reality (VR), a technology by which computer-aided stimuli create the immersive illusion of being somewhere else—and a topic on which middle ground is about as scarce as affordable housing in Silicon Valley.
VR is either going to upend our lives in a way nothing has since the smartphone, or it’s the technological equivalent of trying to make “fetch” happen. The poles of that debate were established in 2012, when VR first reemerged from obscurity at a videogame trade show; they’ve persisted through Facebook’s $3 billion acquisition of headset maker Oculus in 2014, through years of refinement and improvement, and well into the first and a half generation of consumer hardware.
The truth is likely somewhere in between. But either way, virtual reality represents an extraordinary shift in the way humans experience the digital realm. Computing has always been a mediated experience: People pass information back and forth through screens and keyboards. VR promises to do away with that pesky middle layer altogether. As does VR’s cousin augmented reality (AR), which is sometimes called mixed reality (MR)—not to mention that VR, AR, and MR can all be lumped into the umbrella term XR, for “extended reality.”
VR depends on headsets, while AR is (for now, at least) more commonly experienced through your phone. Got all that? Don’t worry, we’re generally just going to stick with VR for the purposes of this guide. By enveloping you in an artificial world, or bringing virtual objects into your real-world environment, “spatial computing” allows you to interact more intuitively with those objects and information.
Now VR is finally beginning to come of age, having survived the troublesome stages of the famous “hype cycle”—the Peak of Inflated Expectation, even the so-called Trough of Disillusionment. But it’s doing so at a time when people are warier about technology than they’ve ever been. Privacy breaches, internet addiction, toxic online behavior: These ills are all at the forefront of the cultural conversation, and they all have the potential to be amplified many times over by VR and AR. As with the technology itself, “potential” is only one road of many. But, since VR and AR are poised to make significant leaps in the next two years (for real this time!), there’s no better time to engage with their promise and their pitfalls.
The History of VR
The current life cycle of virtual reality may have begun when the earliest prototypes of the Oculus Rift showed up at the E3 videogame trade show in 2012, but it’s been licking at the edges of our collective consciousness for more than a century. The idea of immersing ourselves in 3D environments dates all the way back to the stereoscopes that captivated people’s imaginations in the 19th century. If you present an almost identical image to each eye, your brain will combine them and find depth in their discrepancies; it’s the same mechanism View-Masters used to become a childhood staple.
When actual VR took root in our minds as an all-encompassing simulacrum is a little fuzzier. As with most technological breakthroughs, the vision likely began with science fiction—specifically Stanley G. Weinbaum’s 1935 short story “Pygmalion’s Spectacles,” in which a scientist devises a pair of glasses that can “make it so that you are in the story, you speak to the shadows, and the shadows reply, and instead of being on a screen, the story is all about you, and you are in it.”
Moving beyond stereoscopes and toward those magical glasses took a little more time, however. In the late 1960s, a University of Utah computer science professor named Ivan Sutherland—who had invented Sketchpad, the predecessor of the first graphic computer interface, as an MIT student—created a contraption called the Sword of Damocles.
The name was fitting: The Sword of Damocles was so large it had to be suspended from the ceiling. Nonetheless, it was the first “head-mounted display”; users who had its twin screens attached to their head could look around the room and see a virtual 3D cube hovering in midair. (Because you could also see your real-world surroundings, this was more like AR than VR, but it remains the inspiration for both technologies.)
Sutherland and his colleague David Evans eventually joined the private sector, adapting their work to flight simulator products. The Air Force and NASA were both actively researching head-mounted displays as well, leading to massive helmets that could envelop pilots and astronauts in the illusion of 360-degree space. Inside the helmets, pilots could see a digital simulation of the world outside their plane, with their instruments superimposed in 3D over the display; when they moved their heads the display would shift, reflecting whatever part of the world they were “looking” at.
None of this technology had a true name, though—at least not until the 1980s, when a twenty-something college dropout named Jaron Lanier dubbed it “virtual reality.” (The phrase was first used by French playwright Antonio Artaud in a 1933 essay.) The company Lanier cofounded, VPL Research, created the first official products that could deliver VR: the EyePhone (yup), the DataGlove, and the DataSuit. They delivered a compelling, if graphically primitive, experience, but they were slow, uncomfortable, and—at more than $350,000 for a full setup for two people, including the computer to run it all—prohibitively expensive.
Yet, led by VPL’s promise and fueled by sci-fi writers, VR captured the popular imagination in the first half of the 1990s. If you didn’t read Neal Stephenson’s 1992 novel Snow Crash, you may have seen the movie Lawnmower Man that same year—a divine piece of schlock that featured VPL’s gear (and was so far removed from the Stephen King short story it purported to adapt that King sued to have his name removed from the poster). It wasn’t just colonizing genre movies or speculative fiction: VR figured prominently in syndicated live-action kiddie fare like VR Troopers, and even popped up in episodes of Murder She Wrote and Mad About You.
