Star Citizen: Around the Verse - Building Solar Systems & Nox Preview

Transcript — every row opens the video at that moment

1. 00:00:16

   welcome to another episode of around the verse our weekly look at star scissors ongoing development I'm Chris Roberts and I'm Eric Kiron Davis so on today's show we'll examine what it takes to build a solar system a process that includes everything from extensive astronomical research to the creation of a new tool that we're calling Sal Ed yeah plus we have a ship shape that you will KNX want to miss that's so bad but first let's pay a visit to Frankfurt for a studio update hello I'm Brian Chambers development director of our Foundry 42 Frankfurt office this month the team grew by an additional two people bringing us to a total of 76 employees this month we had 20 of those employees participate in a local 5K run here in Frankfurt nobody necessarily participated in hopes of winning but it was a good opportunity

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   to hang out after work and have some fun and exercise so let's start off this month with checking in with the level design team the level design team finished the main part of the work they needed to do for the surface Outpost and they're now in the hands of the environment art team they also had white boxes for both the modular hangers and garages approved and those were handed over to the r team as well for their visual exploration phase with the white boxing phase complete they're currently focusing on implementing the markup required for all our locations this involves everything from room systems and breathing environment interactions like vaulting elevators and consoles for spawning ships and vehicles Levi will have a combination of

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   hangers and garages to spawn ships as well as vehicles to explore the planetary surface with the bulk of the work completed on the previously mentioned locations they're now moving over to the remaining Flagship Landing zones for the Stanton system the first ones on that list are Area 18 and lorville followed by orison and new babage the engine team worked on consistent capturing of both atmosphere and sky in Cube Maps so we can seamlessly blend between Global atmosphere and local Cube map based lighting this will ultimately give us a higher level of visual Fidelity they implemented an improved compression algorithm for the new pack file system to allow for more efficient data streaming due to reduced CPU overhead

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   during decompression this is part of the new incremental Patcher which will ultimately make patches and updates much more efficient they also did some work on our internal tool called planed we have several needs for marking areas on a planet to identify where specific objects should be spawned within an ecosystem areas to be punched out to embed brushes or complex structures such as Landing zones the code for this was unified so it's easier to reuse and extend in the future as even more functionality in this regard is needed the AI team has been busy as usual uh this month they did some work on buddy aai where NPCs will intelligently follow a designated leader they also oo made progress on ship AI getting it one step

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   closer to be fully controlled via subsumption one Sprint they did this past month was focused on human combat they spent time refining behaviors for First Reactions to enemies seen and events heard the reactions vary in direction and speed from casual situations to Quick reactions to loud events and so on the clips you see here are put together in a way that just verifies the behavior via triggering the appropriate animation from a start pose to the action intended once the behavior is verified they'll get fully hooked up in game and the popping won't occur they also did some additional work on Friendly Fire to make sure friendlies are identified correctly in combat situations if and wi [Music] needed the Frankfurt VFX team has been

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   continuing to work on effects for the various Planet surface types this covers a wide range of effects from simple footsteps to weapon impacts and vehicle Tire effects they also did some early experimenting

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   with rigid body simulations and the workflow for squadron 42 cinematics this will cover the many mesh destruction and deformation animations that are required for the Squadron 42 single player missions the lighting team has has been very busy bringing all surface outposts to their final lighting this involves creating a consistent set of lighting fixtures temperature charts and rules which we can use to define how each type of outpost looks we've also created a library of prefabs combining existing props with lighting Elements which can be easily iterated on and propagated across all outposts the techar team had a variety of tasks

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   this month they continued to create numerous mannequin animation fragments for the Cinematic team they implemented the game entity for the new Kar custodian SMG energy weapon with the blocked out mesh and rig now that it's implemented other departments can start working with it in game such as animation and VFX they added addition features to our internal play blast tool to make it easier for the animators to create simple play blasts of their work which are primarily used for animation reviews they also made great progress with the new weapon Dynamics and secondary motions using both in-game physics and simulation the initial results are promising and secondary animation will add one more level of subtle detail and

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   realism to the verse [Applause] the build engineer team grew by one member this month bringing us to a total of two here in Frankfurt so a good amount of time was spent getting him up to speed on how we function they are ultimately both responsible for build support for our European offices as well as working on both mid and long-term plans to increase both efficiency and reliability of our build process for the environment our team this month with the updated material distrib bution the ecosystem ground materials have been improved on all three moons adding a more varied breakup of the materials on the ground the team is also close to wrapping up work on the landing pads

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    that will go with the surface Outpost these landing pads will give the players a stable solid Landing point on what otherwise might be a rough Landing the surface of Delmar is getting its final polish with geometry and materials being updated and fine-tuned the surface is also getting an fx pass adding an extra layer of visual interest to the environment and atmosphere the area surrounding Lei will also have more areas of interest for players to explore in Lei final touches are being put into the Customs area all player traffic in and out of leski will have to go through this checkpoint so extra effort is being put into making visually interesting and ultimately hard for players to smuggle in unwanted Goods the work on the

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    garages is close to done and ready to be included in the level once this work is completed players will be able to request a vehicle in the garage and go out and explore the Daryl Marsh surface the elevators in leki have also been updated with new models fitting the modular building set that we're using across the entire game the game programming team has been working on finishing up the remaining weapon features for 3.0 such as the rail gun cover animations delayed coils and delayed ads reticule they also completed the first iteration of the doors and air locks that we mentioned recently now the technical hooks for adding VFX and sound effects are being implemented and they'll be ready for the rest of the team to use with the help of other Engineers from both the UK and LA offices the

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    technical design for the network code of the new weapon system is being fleshed out and the overall research phase is coming to an end the first test implementations will be started as soon as all other 3.0 3.0 tasks are completed cinematics is working with UK Graphics engineering to test out first working version of our brand new holographic projection volume entity Tech this piece of tech essentially provides a Target holographic volume with content fed from a source scene that gets rendered into the volume it would allow us to example have Larger than Life characters communicating via hologram with characters in a scene or have the holog globe switch to a scripted mode and show Mission briefings all in real time

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    without resorting to things like pre-rendered Motion Graphics this Tech minus the holographic component will also be used to get comm's calls from other ships and their cockpits in real time such as the cockpit mfds or other displays as usual team has also made great progress across multiple chapters for squadron 42 we look forward to showing things off in the near future the Frankfurt QA team started testing the new Sig data Patcher in May and testing has continued through into June Patcher testing is done daily as well as on the client editor and dedicated game server copied via Sig data Patcher our main goal is to make sure there are no differences between builds pulled via the new Patcher and builds pulled with our current internal

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    build tool copy build 2 copy build 3 has also been rolled out to QA at the beginning of June and has been its QA testing phase in conjunction with Sig data Peter subsumption editor testing continues to be a regular part of their weekly task as new versions with new features become available QA Works closely with Tony Z and Franchesco Ruchi in order to ensure that each subsumption edit or release is free of anything that could pluck the development process they also spent a good portion of time testing multiplayer game play in the Staton system persistent universe level the system design team continue to expand the library of usables to be used for both the Pu and Squadron 42 the air traffic control is also making Headway and you should be able to experience

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    this ing game fairly soon they started work on the FPS companion sluddy aai including all the orders you can give them and the behaviors needed for those orders to take effect the actor status system is being internally tested right now and is going through its final tweaking and balancing they've also put some finishing touches to the conversation system to allow our cinematics team to create the best experiences possible the weapons team blocked out numerous Universal grip and Optics attachments they're converting the older blocked out attachments to work with our new attachment rail system and doing a quick first pass to test them on the existing guns to see how well they work and if of the designs need to be adjusted they also completed

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    the first pass blockout for the Clon verer demo which is a laser light machine gun for ship weapons they finished the preacher armaments Distortion size 4- six and upgrade levels 1 through three they also did a first pass blockout including rough animations for the Clausen verer laser repeater size 1 through three the neutron repeater S1 through S3 and the apocalypse arms ballistic scatter gun S1 through S3 and to close out the update earlier this month a large amount of people from the office attended a local bar citizen here in Frankfurt good people good conversations it was a really fun time and we're glad they organized it that wraps up this month's update from Frankfurt we all really appreciate

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    the support and feedback you give us we couldn't do this without you guys and we'll see you in the verse the VFX work on Planet environments it's it's really looking great yeah I know being able to see your Footsteps in the snow or having your vehicle kick up dust while speeding across the desert are those little details will make you believe that you're really in those environments and be much more immersive you know me I love immersive yeah yeah we do another way you'll be experiencing these environments is from the seat of aox although the concept sale begins tomorrow we've got a special ship shape today to give you a sneak peek at this new open canopy racer hi my name is Chris Smith and I'm the elite vehicle artist in the ATX office I'm currently working on the Knox bike

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    which is a xan bike made by AOA has xan technology involved much like the Scout and it's you know a very stylish bike and it's supposed to sort of compete with the dragonfly well the dragonfly was made you know with a lot of sort of exploring and scouting in mind I think this bike on the other hand is a little bit more purposed towards either racing or combat but it's going to be very fast and Nimble uh and it's going to be powerful in combat the concept was uh provided from England this time it was only a 2d concept though uh usually here uh we we start with 3D Concepts for this bike though we didn't really have too much time uh for that concept initial concept phase it was worked out in a fairly quick Manner and only on 2D so this was a bike that I got to actually built from the ground up literally the

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    first poly you know from the ground up which was was quite enjoyable so building the xan bike wasn't terribly challenging cuz we used the xan technology which uses magnet technology and it kind of made connecting points a little bit easier so we decided to have like the Nels floating and they're connected by magnetism and the handlebars the same way and sort of the plates slide along we try to infuse a lot of style of the xon technology in there and use like a mix between sort of like heavy metals and and exotic materials the main challenge was to make sure that uh we sort of Nathan dearle helped in the concepting it with Gary Sanchez he told me that he really wanted to like from afar look like like this little monolithic sort of simplified

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    thing like sort of ominous looking uh shape from a distance and then when you get closer you know it reveals more detail the main challenge was to kind of get that feeling across and and make sure I hit that the xon technology the skin of the the bike is definitely going to be an armored type the the rider itself is protected by the bike when he gets on it has these sort of shells that come up above his back so the rider has a little bit more protection you know from behind the main thing that sets xan technology apart from like let's say RSI or uh agis would be the rider has a much more aggressive stance on the bike than on the dragonfly so the dragonfly is more the upright stance right this xan bike has like a race bike type stance so you're forward leaning it's it's more racer type uh your legs are back that gives that gives a little bit more uh

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    maneuverability and then also that way you can kind of get a little shell and a little bit more protection over the guy so I mean it's still open on the sides and everything but you just get like a little extra protection from those shells in the back the xan bike uh is actually going to use a holographic Hood system in order to try to streamline everything and make it technologically advanced we try to minimize the amount of screens as much as possible once you get on the bike and initially there's not going to be any screens there there's one little screen by you and right in front of you but that's sort of flat and that comes up a little bit but everything else will like come up as a holographic image in front of you which looks really cool and the startup sequence is pretty neat hi uh I'm Patrick solerno technical artist at Cloud imperum games um I focus on mainly

22. 00:17:23

    destruction systems and optimization for the spaceships uh functionality to at the end I make things sure things work but um I kind of have a checklist of things that I go through when I'm doing the spaceships uh it's like the there's a couple Tech art passes that the ships go through uh in particular we'll be talking about the KNX today and the setup that went into that and if it differs from any other ships that I've worked on most of the ships that you see in game I've probably touched in terms of either lighting or particles or damage or something um during some point in the process I get the model from the artist he's like it's done you know and before this we've talked about how it's going to break off which pieces are going to break off of where sometimes there's small changes down the process we're like oh those intakes or those weapon racks might be able to break off you know we can add a little bit more

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    detail or gameplay so I'm working with design I'm working with art and we're trying to make sure that by the time I get it there's really no back and forth you know like I don't have to go oh Mr artist guy there's something you have to do here so I take it from there and what I do is if we're looking at this ship here I will look at it in Max and I'll break it apart and we'll say okay so if the nose comes off from the front of the ship then it has to detach and fly off how do we do that how do we make all those pieces work together and look good well for that I usually hop into the XML from there so before even working on like the art side of it like making the metal wear and stuff I have to work on the functionality side where the debris happens so shoot the ship and it explodes the pieces have to fly off in certain directions those are called

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    vectors those are impulse pules right you know boom Ship Happens it explodes now what happens is I'm kind of tying in multiple effects together at the same time I'm saying I have particles to work with when I'm shooting the ship so all these little green squares you see here are kind of uh what are called helpers in Max and uh helpers are all these little green squares you see and they can serve a bunch of different purposes for we want to use them for uh for my particular purpose I use them like C4 charges like little explosives uh that will happen and what they'll do is they'll burst in say a radius and I'll set the radius in my list and on the name of it and that gets put into the XML and from there I then update the ship and I shoot the ship and I can test my new particles so it's a bit of back and forth right you know you want to go in shoot it see what happens check your particles check your fire you know make

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    sure everything looks all right if the modelers put in specific uh things like wires and girds and stuff and tubes you know you want to take that into account when you're putting down a particle now mind you I don't necessarily make the libraries and uh I go in and I'll pick from say you know lowtech high-tech chanch Vandal Tech type you know uh particle libraries so luckily these guys had a cool one they're kind of like high energy blue alien Tech so I had a lot of fun with that um just sort of like shooting and testing it so once I get the debris flying off let's move on the next phase I set up what's called the UV 2s and the Damage map right that that is our system where the ship actually melts and wears now when we do this system we have to take into account um the underlying surface detail it's very

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    important so the modelers will actually model gerter and underlying stuff and there's two types of underlying sort of surface detail there's 2D and 3D go uh 2dg is like this it's called a palm Parallax seclusion map it's this one polygon that goes under the surface of the hole no matter what it shape is and when you shoot the ship and it melts you'll end up seeing that underlying sort of metal or girds or wires or whatever is not actually like you know it's supposed to be there so you don't see through the ship polygons are only one-sided right so light hits it that's it but if you're looking at the other side you can see right through so uh we take that into account so for that to work the ships need two UV sets and in case you're not sure what UV set is a UV set is what Maps your texture so like the wood on this surface or some kind of other uh wear like thing so UV 1's are

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    for your ship texture and UV 2s are for the procedural damage map um once we start shooting that everything kind of works in conjunction so I have my initial debris with the pieces flying off and the breakability activating the particles which then set off say fire smoke electricity then spins off and then Fades out now after I'm done with all the you know fun creative stuff you know there's the making sure things work and is optimized and runs well uh there's also another layer to that when you're doing the Shader damage and it's doing the melty effect and it's trying to show the underlying stuff we use what are called vertex colors on the ship and vertex colors are basically every verticy a polygon is made of these little points points of vertices each one can hold data uh we use that color data to tell the map that it can be

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    transparent or not so um what I do is I'll go in and all these different colors mean just a slightly different level of damage right so say for example there's really no damage under the nose right but I still want it to show the uv2 dam still looks like it's getting dented and worn right I can set it to a certain color that can block the punch through of the damage that means you might not be able to see the underside of the ship now for somewhere in the back I can do it a little differently where I can layer the damage so if there's really nothing under here I can set that you can't punch through but you can slowly Whittle through different areas of the ship um then I just go through and I kind of layer that across the ship and create levels of damage it creates a little bit more Randomness when you're firing at it some areas will get huge hole throughs and other areas might look like they're just wearing a

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    bit harder so yeah but after I have all that set up I kind of work on the lights right I want to make sure that lighting Works uh most of the time lights are set up by the artists themselves uh the ones who are doing the ship or the lighting artists um so if there are no lights set up which I was lucky enough to have at the time with this uh I had a little back and forth with Chris Smith about it and he polished it off but um basically I got to set up some of the lights on this ship and this was kind of fun because as an alien ship the theme was more of a high-tech sort of vibe most of our ships have more traditional Fire spark smoke etc etc so uh luckily there were Shen libraries and some Hightech libraries I got to play with for this ship and when I was shooting it different weapons have different effects we shoot this we see we get a sort of melty burny wear if we pull out a rifle

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    we get bullets now the bullets can actually sort of tear a hole in the ship which is fun boom and then change the lighting conditions fire smoke etc etc so at the end that's how all the pieces come together right the process takes a bit longer than that but uh at the end it's pretty fun and just sort of picking which pieces explode and killing the ship and I mean it's important to take in account the functionality ship when deciding how it's going to be destroyed like you know with this guy there were really only two or three pieces you could blow off like nose sort of the seat area and the tail so how do you how do you make that look different every time you want to blow up the ship you know I I don't really like it when damage always looks the same so my goal is to add sort of Randomness and variety to it uh one more cool thing that I have is to show is this new debug gun we have

31. 00:24:39

    for testing the damage normally I shoot it right I use different weapon types to see what happened if you're going across a ship but we have this thing called a damage gun now for debugging our materials and see all I have to do is kind of look at the ship now this doesn't help me with actually blowing off pieces of the ship that still doesn't quite work but but uh that's where I shoot the ship with an actual gun but you can see I can test out my damage map which you can see up here in the corner then that wears away this is what I was talking about with the transparency you can see slowly eats away at the ship so if there's really nothing under there I don't want to actually expose that to the player right so I just I do the vertex colors that you see over here to block off certain areas like this has a lot of vertex colors there's not much going on but um

32. 00:25:26

    I'd say that's pretty much it and then I just I test it all and I bring it all together and I give it polish and then I hand it off to the final people for functionality and testing working on the xan bike was actually pretty neat because it was the first non ship that I got to build for this company I did use bike references for some of the details like you know engine details because the Gian sort of has like a naked bottom it's not totally covered you know so it shows some of the mechanics and stuff so I definitely use some real life motorcycle reference from that and I'm into motorcycles so I was very glad this F in my lap it's very sexy so I had a lot of fun working on it as Chris Smith mentioned building the

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    nox was made easier because the apoa ship pipeline was already established having such systems in place are key to reducing development times going forward yeah especially when building a game of such size and scope scope another example of the solid a tool we've created to make building solar systems easier yeah that's right cry engine as you all know was not meant to handle game with the maps the size of an entire solar system let alone even 10 or 20 kilometers across so it made placing objects difficult and time consuming uh so now let's take a look at what it takes to build a solar system from scratch I'm Luke Presley I'm lead designer on Star Citizen live hello I'm uh Sher hyberg I'm the archist here cig I'm Dave hack I'm the lead writer over at C recently I was on a Bren uh con panel and I got asked is there any

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    unsunk heroes in the um Star Citizen Tech things that aren't flashy enough to get their own kind of featurettes or anything but which make our lives possible kind of thing we're building a solar system um well we're building a Galaxy so how do we build a solar system we recently got a new tool called the the solar system Ed or Sol Ed as we call it it was something that was kind of we we made the brief here and then Sasha hober in Germany um actually built of a tool what it allows us to do is um well build a solar system build a hierarchy I bring in a sun and then I give it children which of the planets then I give those children which of the moons and then I can give those children which are you know satellites and I can very

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    easily give them an orbital distance and just have you know created the the whole thing in a matter of minutes and that sounds really simple it sounds like something we should have been able to do from day one when we started uh getting close to the the deadline for the star map we had to do a kind of heavy internal push to generate a lot of uh of of star systems we were sort of thinking you know oh this would be cool to have a system like this and it would be cool to have a star like this and you know astronomy virtually every day you're finding new cool stuff that's happening so it's we were trying to get as much of that stuff in there we were sort of faced with this thing of like well we should probably see cuz there's such an emphasis on like realism and while it may not be entirely accurate like plausible I think was sort of the term when we were building Crusader for

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    instance for 2.0 what we'd have to do is we'd bring in Crusader and we'd set that down at the origin which is 0000 0 in the XY Z and then we'd bring in a moon and that' be on 0000 as well to get it to the right orbital distance we'd have to move it in either just the x or just the Y away from the planet and that's in meters as well so you can imagine how many meters away of a moon is from a planet and then obviously if you've got three of these moons um you don't want them all at 90° from the planet so that means you've got to add some rotation on which means what we had to do was like we' put down another object in the middle of um Crusader at the origin and we'd physically link it to the moon and then we'd start twisting that would move the moon around too and you wouldn't be able to see it because it'd be too far

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    away and the moment you've moved it off of like pure Zed or pure pure X or pure y sorry um You've Lost That one one pure number it becomes some two numbers that you have to do maths on to figure out so it's not it wasn't allowing us to be able to change this in future imagine if a scale changed um we just have to start again what the solid allows us to do is you know if we change the Scale of the Universe we just scale down the numbers for uh the orbit orbital distance away from its parent like in a matter of minutes you would have a rescaled solar system we try our best to make things as accurate as possible but still respect the need for the players to actually enjoy what we have we got a bunch of astrophysicists the writers gave them the brief for reach of these solar

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    systems they went away and came back with a spreadsheet that has an unbelievable amount of data in there more than we could ever use there's a service that actually U Collective of scientists and researchers and stuff like that who basically volunteer their time to screenwriters video games stuff like that uh you can contact them and they basically will put you in touch with an expert yeah he was an astrophysicist who had served as a consultant on other properties before we learned about star types and green bands and how long it takes to evolve life and the density of asteroid belts and we basically got a crash course on how to build a system from scratch if you're not a scientist they went to town on this so the the list that basically Sher worked with them on was like everything from the size of the the system itself to where's the green band start where does it stop where's the frostline start

39. 00:31:35

    daily rotations orbital rotations parhelion I mean I'm going to throw out terms that I don't know what they mean but like you know the uh odd orbital patterns you know inclination de all this stuff we kind of just take for now the the size and the distance from uh the orbital distance from its parent but obviously um things like the density will affect the gravity of the thing eventually it even goes into details like how the mass of a asteroid ring so if you took all the asteroids and combine them together what the mass of that would be it's extremely detailed and these guys know what they're talking about so our solar systems are going to be extremely like realistic obviously we scale it to keep it you know a a

40. 00:32:24

    playable because you know no one actually wants to drive around around the Earth but also like you know to keep the tech um working like we we can't make any Planet say biger than Earth right now so that means we have to bring everything slightly in so that we can do these super um super Earths like arore they were able to build the systems with respect to orbit they didn't want to cause like a bad orbital orbital resonance situation so the planets were a certain amount of au apart and in a certain position so that the orbits wouldn't fling planets out of the system so an au is an astronomical unit it's a standard unit of measurement used in astronomy astrophysics and it's the distance between the Earth and the Sun it's used so that you can easily communicate vast distances in solar

41. 00:33:11

    systems our solar system for example is around 50 Au if you include the orc cloud and Pluto and all of that uh it's basically so you don't have to say something like this system is 575 trillion 8 9 b473 km it'll factor in based on what our our time dilation system is like how long a day is in the game whether it's that's at of scale because it might actually in a weird way I I don't know about the formula but it might actually balance out that basically if like if if the time was running at a tenth of this or 90% faster or whatever then it would equal out the distance traveled would make sense you know if you scale it back to normal time I think it was almost a year trying to get uh all the numbers in

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    and we went through many processes of going back and checking to see whether or not the numbers that they gave us reflected consistently with the lore we had given whenever we had questions about stuff that we wanted to make real but couldn't we would talk to the astrophysicists and they would usually give us good ideas there are some things that we weren't able to keep entirely real like um asteroid belts for example in real life asteroid belts the distance between asteroids is so vast that it wouldn't pose an issue or an obstacle to any kind of race for example you would just Mose on through it it would just be like going through regular space asteroid belts in our game are denser it's not like real life but it's a lot more fun and also we would have situations where they would say Hey you know um what you have presented in the lore is not possible you know but what you can do is if you change this this

43. 00:34:48

    and this you know it's a minimal rcon for the backer's perspective but it will kind of pull it into scientific feasibility which was sort of the middle ground we kind of aim for but the thing we also learned was that space could be crazy you know oh this can't happen and then a week later something would come out in the you know NASA or something be like oh by the way there's a diamond planet and we're like yeah there's a diamond planet there's a planet where it rains glass there's a stellar Cloud that's supposed to taste like raspberry schnap Space is really weird it's a gas giant that's the color of coal like pure pitch black that we stole yeah we definitely stole that yeah space be crazy the things with placing with um the solid um are obviously right now the the uh procedural planets Crusader will be um a different entity because it's a

44. 00:35:37

    gas giant it'll be a gas giant entity that um we've not got the tech for yet but we'll have an amazing Shader that goes goes around it and creates creates these wisps and and these eyes and storms obviously we can also as I said before plan um put satellites going around and things like that we also placed for the asteroid uh ring around the solar system with it they are building the systems on a on10th scale so for example if we have a system that's 200 Au in our notes it comes out as 20 Au in the uh the system that the designers are building so that like number one it can it's a lot more fun for the players this way because systems that if we had like a 200 Au system it would take I don't know years for the

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    players to get across it even it's just such a such ridiculous amount of time it's an inedible distance so we needed to scale it down so that number one it would be fun for the players and number two that we could build the whole thing and seamlessly within our engine Quantum travel is is kind of locked at around on10th the speed of light so you know even at that you know it's going to take a really long time yeah to fly from place to place so with real long haul travel things it's going to take I won't say where the example took place but there was a situation where something was going to be traveling in Quantum travel for 20 minutes so you know break out your cards and load up your Netflix queue while you're in Quantum travel you could get up out of your chair I mean considering you have a multi Cru ship you would get up out of your chair and stuff like that and if something yanked you out of it then you would have to you know run back and it's also the thing

46. 00:37:11

    it's like Quantum travel travel the idea was that Quantum travel only moves in straight lines the reason why you don't your body doesn't liquefy is that there's a sort of anti-grav bubble around you but because you're moving in a in a straight line you know you're not getting that sort of the intense pressure but if you were to turn suddenly you go flying against the wall at one tenen the speed of light which probably hurt yeah yeah might might hurt a little a little bit it feels like this sort of adherence to you know again even at like a on10th scale I mean in 30 I mean we're starting off with the moons the moons of of Crusader and I mean they're huge you know it takes 15 hours to drive it like around once the interesting balance is going to be um how do we achieve this sort of like the the crafted experience with the the massive scale like that sort of vast

47. 00:38:00

    openness but still feel like there's you know that there's interesting flavors to all the places you go My Hope Is that the players will see the numbers that we have generated for them the care that we've put into designing the systems and we'll know that they have all this information at their fingertips and know how real we want the systems to be for them we would never be able to create let one solar system let alone you know the hundreds of solar systems we're going to be able to we're going to have to make if it wasn't for this tool you you can imagine like the the amount of hours it would take to to hand move these out because the cry engine was never built to do this you know again I say it's it sounds extremely simple and it is a simple tool but it wasn't there out the box so an incredible amount of work went

48. 00:38:49

    into coming up with over 100 systems and scientifically vetting them but now we have all the information it makes it easier to build them in solid yeah for example the the Stanton system which we're currently building out is just over 800 million km across even after scaling it down by a factor of 10 yeah that's pretty amazing at a distance um so anyway that's it for today's ATV thanks to all our subscribers for helping us make shows like this each week yes and thank you to all of our backers we really couldn't do this without you oh and if you're as excited as I am to hop on a nox and speed across a planet don't forget to check out the concept sale tomorrow yeah definitely check it out so until next week we'll see you around the ver thank you for watching so if you want to

49. 00:40:04

    keep up with the latest and greatest and staff citizen of Squadron 42 development please follow us on our social media channels see you soon