Subnautica VR – Play As a Submarine Captain in Virtual Reality

Subnautica VR – Play As a Submarine Captain in Virtual Reality

Experience the quiet tension of World War 2 convoy raiding as a submarine captain in this Virtual Reality simulation. The game promises an engrossing single player story campaign, co-op mode and free-roam play.

Each room of your cramped submarine is beautifully rendered and easily navigable. Firing your deck gun is particularly satisfying.


This virtual reality submarine simulator offers a fun and interactive experience for kids (adults can play too). The height of the simulation periscope can be adjusted according to the kid’s height. VR Submarine The submarine is equipped with a gun and can be used to shoot enemy planes, other submarines or even a shark. The submarine can also roam freely in the vast sea.

Whether you’re hunting down merchant ships or dodging Destroyers, IronWolf VR puts you in the captain’s seat of a World War 2 era submarine. It’s easy to pick up and play, with an excellent tutorial that guides you through the basics. However, it’s also very hard to master. The game rewards careful scouting, optimal positioning and the quiet tension of firing torpedoes into vulnerable targets.

Each room of your cramped submarine is a stunningly rendered space to explore in VR. It’s full of old timey WW2 dials, wheels and switches to manipulate, sometimes with a frantic rush to dive after the roar of a search plane overhead, and other times with cold calculation as you line your crosshairs on an unsuspecting vessel in your periscope.

The game’s audio is equally impressive, from the rumble of your submarine as it sinks beneath the ocean, to the quiet hum of its electric propulsion and the creak of its hull against the churning waves. The trailer promises a fully engrossing story campaign, co-op and free-roam modes, as well as many surprises in store for you at sea.


While the controls aren’t the most tactile, what really makes Subnautica VR work is that the experience feels like you are in a submarine. The way the water floats around you, the glowing flora and fauna bursting from the depths, the eerie noises of the Kelp Forest, the feeling of your cramped submarine humming and the pressure of the water pushing against its hull all add to that magical feeling that only Virtual Reality can give.

The Submarine Simulator also gives players a lot to do inside their cramped submarine. They can navigate through narrow corridors, lock on to targets and fire a deck gun in the weapons room or manage their engines and speed in the engine room. They can even go down to the bottom of the ocean and use the simulation periscope to look for underwater targets.

The submarine is controlled from a large control panel that appears in the player’s inventory when they are on board and can be used to access all of the key areas of their submarine. From here the captain can submerge or resurface their submarine, set speed (orders) and watch important dials and a map display. The map display is a circular view of the environment and can be used to show things like direction, mines, targets in sight or sonar waves.


As a result of the immersive head-tracked headphone experience and the emergence of VR, VR UFO Machine new opportunities for audio-production have emerged. One such opportunity is to facilitate spatial mixing by allowing users to interact with 3D audio in a virtual environment (VE). This is important for several groups such as game developers wanting to quickly sketch an audio-based atmosphere for their in-game environments, music composers who mix spatialised music for surround sound or VR applications and experimental musicians exploring the potential of 3D audio.

This project aims to create an aid for spatially mixing audio in VR, which utilises the graphical properties of the VE and combines them with real-time acoustic simulation and audio synthesis. It will enable the user to visually place sound sources in space, emulating the stage metaphor and channel-strip metaphor of the audio mixer, as well as integrating the physical qualities of a room into the graphical representation.

The VE consists of a basic environment with a grid shader for walls and floor, and virtual objects linked to the audio tracks. The audio tracks are shown as spherical sound sources with their own label in the VE, and interaction is possible by positioning the controllers in front of the spheres. When the user interacts with a sound source the controllers will vibrate to signify the contact and send data on position, distance and angle to Cycling 74 in Max. This will then execute the auditory placement of the track in a given spatial environment through a convolution process with HRIRs related to each sound object’s respective angles.

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