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Una nuova puntata dell'Around the Verse di Star Citizen, questa volta su Squadron 42.
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00:13Hello and welcome to another episode of Around the Verse. I'm Sandy Gardner. And I'm Chris Roberts.
00:19This week we're excited to bring you a special feature on Squadron 42. Yes, so back in our
00:24holiday show we showed the vertical slice and a first look at the coil and menacing massive
00:28planet fragments and static electrical storms. It's a very unique environment that posed some
00:33distinct technical design challenges. Yes, this month we're only taking a closer look
00:38at the coil since our teams just recently got back from the holidays. But going forward,
00:42our monthly updates for Star Citizen and Squadron 42 will include detailed project reports along
00:47with one or two features. Let's check in with the devs now on the coil. What is the coil? It's
00:56a
00:56huge volumetric thing out in space. It's a thing that you have to be able to fly outside to look
01:05at. It's a thing you have to fly inside to be surrounded by. I think you fly through bits of
01:13it. It's a technical nightmare. It's all manner of things. The coil was sort of a fun element in
01:24of Squadron 42 because it plays a big role in the character of the system that it's in. So the
01:31story
01:32being that in Odin's system, I think it was actually by the time the UEE had discovered it, the star
01:40had
01:40already gone nova. And so in the blast it decimated the first planet and for whatever reason it created
01:51this sort of like perpetual, I say electromagnetic because that's the first adjective that pops in my
01:57head, but sort of electrical storm of, you know, chunks of planetary fragments and, you know, just gas
02:06and energy and all those sorts of very weird things. And so it created this sort of, you know, perpetual
02:15labyrinthine storm. So the idea being that there are these sort of tunnels that you can fly through
02:20it that you can safely navigate, but if you hit sort of what we call the walls, but they're not
02:25really
02:25physical, the walls of the coil, it will overcharge your ship basically and fry you to death. And
02:34so it created this interesting dichotomy of, with these planetary fragments, a lot of really cool stuff
02:42that you would normally not be able to mine, like being able to actually mine the core of a planet
02:47and
02:47and stuff like that. And so it created a kind of unique opportunity for
02:56more risk, risky mining consortiums to basically like take the plunge and, you know, travel inside the
03:03coil to try and get access to this sort of the potential vast resources that could be in there.
03:08But it was extremely dangerous and the sort of the walls, like I said, of the coil shift. So theoretically
03:15where you're mining could seal up and you could be trapped in there. But the danger of it also was
03:22really appealing to sort of the criminal element who knew that sort of the cops basically would be
03:29too scared to try and follow them in there. So they would use the coil as basically a den to
03:36hide out
03:37in and launch raids and then come back in, you know, that people probably wouldn't follow them in
03:41there. So that was sort of the original guise of it. And so yeah, it became a big part of
03:48the Squadron 42
03:49story of creating this environment that the player has to kind of deal with while sifting through this
03:56story. If you're building any kind of conventional game environment, you've always got a clear direction
04:01or you've got clear reference, you know, oh, I want a mountain scape in there. Or oh, I want my
04:06base
04:06or pirate outposts to look a certain way. But when you're building something that's abstract,
04:11the concept and the idea, it can go through a lot of iteration and that's where we've come from there.
04:16But what we're looking at now is that exploded planet feel. So when you see it for the first time
04:21in the system, you should be able to see the kind of the big chunks of planet in there. You
04:25should be
04:26able to almost backwards engineer it in your own mind about where this, where this idea has come
04:31from. On the outsides of the intro to the game, everything's kind of peaceful, a little bit
04:37tense and mysterious. You're getting kind of like really kind of wispy edges and things like this.
04:41But as soon as you start to kind of like probe its depths a bit more, kind of like rooting
04:46kind of
04:46mysteries out and things like that, you start to get kind of like more violent. It's closing in on
04:51you, getting more claustrophobic and kind of it doesn't want you there. It's pushing you away and things
04:55like that. That kind of like lends itself really well to storytelling just through the environment itself.
05:02Traditionally, in a lot of level design, you'll have these really big recognisable forms that you
05:05can kind of see from any direction, just kind of keep you grounded in the world and know where you're
05:10going. And when you're working with a big cloud, that kind of thing, it's really difficult.
05:15So art sculpted these big bold shapes and things like that. And we started kind of like recognising
05:21things like that. I think internally we started naming some of them and we had like the claw
05:25and the horn and all this kind of stuff, or named after the devs.
05:28There's not many games that can render as far as we can. We call it zero render distance,
05:33so there is no kind of boundary. If you think about kind of floating through the clouds in a plane,
05:41it's pretty much that on a huge scale. It needs to do several things for gameplay, for design,
05:48and obviously for Chris's expectations as well on the visuals. Volumetrics in 3D software, hardware,
05:57generally are very difficult to achieve. Even offline rendering, if you start to enable sort of fog or
06:03clouds or anything like that, it becomes hugely memory intensive. So yeah, it's a huge challenge to do
06:10this stuff real time and to be able to kind of fly around it.
06:13The trouble is, because this is a volume, it's not even like having a really large 3D object. It's like,
06:20if you did it in a naive way, you would actually need the full, like a voxel for every square
06:26kilometre, or cubic kilometre, I should say. So yeah, any time you try and turn up the resolution
06:32on it a little bit, suddenly it costs eight times as much memory. It's gone back and forth through a
06:37a few different sort of technological approaches. For a while we were very focused on getting very,
06:44very hard walls at the cost of the fluffiness. So we were going to be able to have some softness,
06:52but it was going to be a very clear distinction between like hazy stuff and rock solid stuff.
07:01And that worked for some of the interior scenes, but it was also, we hadn't really widened up to
07:07to any third party tools. So it was a very limiting experience for the artists and they didn't have
07:15a quick way of iterating on it. So that didn't work out quite so well. And since then we switched
07:20to a format called OpenVDB that's, I think it was developed by DreamWorks originally for doing foggy
07:27type stuff. But conveniently that's, that's quite a common output format from a lot of third party
07:32tools. So it kind of lets the, lets the art teams chop and change between exactly how they want to
07:38get the asset to the engine. And then, then we just have to pick it up and convert it into
07:43our own
07:44format internally. When we started doing the coil, we started by using fume effects to simulate these
07:51large cloud volumes. But we quickly found out that doing this using fume effects would take a long
07:58time to iterate upon and that the results we would get would vary drastically between each setting that
08:04we changed. We felt that this would be a bad method to actually iterate upon in the future.
08:12So we started using Houdini. So in Houdini, we started with this large source object here,
08:19which the environment art gave us. We converted it to a volume and cut shapes through it.
08:30And we can see that by looking at how it is as a 2D representation of the volume.
08:41And so the whole process basically allows us to
08:44to take this step by step and iterate upon what we've made very gently and very non-destructively.
08:57And by applying different noise to the various stages, we can create lots more interesting shapes
09:05that you see. We're also able to merge two different graphs together. So we have the main graph,
09:16which is the large dominant shapes. And then there's a subtle shell that we put on in the,
09:22which we mix together to create a more interesting coil.
09:31So this is the shell we're seeing. We also have this haze, which is the gentle stuff which you fly
09:38through and picks up the light. And then we mix it together and resample it to create better quality
09:47at the end. And this allows us to have the final version of the coil.
10:07You can see here that different colors represent the different density that we're seeing of this shape.
10:23In engine, you can see that we can import the whole coil form as the VDB grid straights into the
10:31viewport.
10:32And this allows us to do lots of editing inside of the engine in context. So we can change the
10:39color parameters.
10:44And also how the lighting is affected.
10:53And we can also reduce or increase the density.
11:03And this allows us to create lots of different effects throughout the whole game.
11:07We're treating the coil really as a character throughout the arc of Squadron. So much like
11:15during a film's production, you can,
11:17you can generally kind of get a story kind of color arc from it. So
11:22many films and there's many websites out there that break this stuff down.
11:25You can, you can break down the film's timeline to certain colors.
11:29It's done to kind of compliment what's going on in the script.
11:32The coil generally kind of will be doing that as well. So obviously it's dynamic
11:38during the course of, of the game.
11:41It can go from being kind of soft, wispy,
11:45kind of calming to look at, which generally is a help more than a hindrance.
11:50But also then during the arc, it can get aggressive, dense, stormy.
11:54It's going to react dynamically to the sun.
11:57Obviously that's the most powerful light source that we can possibly have in the system.
12:03So it needs to shade well with that.
12:04But then also you've got several kind of events that go on inside the coil at different locations.
12:10So they could be plasma storms.
12:12They could be lightning storms.
12:13They could just be, you just want to overarch and kind of rim light certain things using this technology.
12:20So on the forefront of it, we can do all that with our eyes closed, which is general geometry.
12:24So like the ships and the space stations and all the planets and stuff,
12:28the lighting system is very much kind of catered to that.
12:31But when you go from something that is that scale to something that is absolutely huge,
12:37there is a degree of, you know, new technology that needs to be written for that.
12:43There was new kind of gas cloud light entities that came in.
12:46They in turn have their own kind of noise functions.
12:49So we can hint at kind of flickering, kind of like pulsating storms in the distance.
12:53This in turn then gives us just a great tool for composition, right?
12:58So if we want to hint at, you know, danger in the distance that you don't want to go there,
13:01you're generally going to use a light source for that.
13:03It was, you know, another undertaking and another kind of degree of understanding
13:07on not only the tools side, but also the production side.
13:10Because when I started using it, I was obviously kind of so defaulted back
13:15into like your old figures of light intensities.
13:18So if you were to light, say, a room, you're going to have a light intensity
13:22maybe between 0.5 to 5, right?
13:24If you go up to like a Bengal hangar, for example,
13:27you've got some light intensities running into, you know, 100, 150,
13:30which is almost like a football stadium in intensity.
13:33When you go into, you know, lighting a coil, if you wanted to light a distance thing,
13:39you're going into, you know, 50,000, 60,000, 70,000.
13:44So that sense of scale and adjusting to that is kind of mind warping when you're doing it at points.
13:51Once you've got that in place, then you've got this beautiful luxury of,
13:56okay, you put a station next to this kind of cloud, you light that cloud up.
13:59Instead of just having this bleach sunlight coming through all the time
14:03and just this black on the other side, you can bounce that light off
14:06and then you get nice three-point lighting on these assets,
14:09which is, you know, key in my opinion of not.
14:14That's just that black that you see all the time.
14:17It's something we always struggle with is to make interesting space environments
14:22because when you're in an FPS location and you're trying to build an environment
14:26around a specific location on a planet,
14:28it's quite easy to say, let's have a hero mountain
14:31or let's make something quite unique in this area.
14:34But when you're in space, okay, how can we do that?
14:36We've got asteroids, we've got, you know, planets, but how do we feel that void?
14:41And this was a big answer to that, I think.
14:43It was a way that we could bring a cinematic experience to the campaign
14:48and a real centrepiece for the campaign as well.
14:51So you're not just flying around in an empty void.
14:54We're always kind of talking about these kind of veins running through the coil and tunnels
14:59that will help with general kind of navigation throughout the game.
15:04So if you do fly into a volume that, you know, that you can't really see far in front of,
15:10just prepare for the unexpected.
15:13It also gives us the luxury of, you know, potential Easter eggs here and there and whatnot,
15:17which is kind of nice from a design point of view.
15:20But generally, it's not a vice to go in.
15:23There is going to be systems fed into the flight model
15:26that will kind of complement everything that's going on with this.
15:30So should you fly into a risky area, there will be a degree of turbulence that starts to vibrate your
15:36cockpit.
15:38Instrumentation panels will start to malfunction.
15:41Generally, it will be, it will go far much further than just visuals, right?
15:45So it needs to feel like you're in a place that you're not supposed to be.
15:50And that is, that is being fed into a lot of emissions as well.
15:54So at times potentially you may need to be forced out from the cockpit and go it alone,
15:59which is a very kind of powerful tool to have at your disposal from a game scripting point of view.
16:04We've taken some good steps towards that doing this demo, but obviously there's a lot more to come.
16:10So that's going to be our challenge is making the content look good,
16:13but making it flexible enough for the different departments to do what they want with.
16:17Both from like an art direction point of view to say, I want it to look like a certain way.
16:21And then also from a design point of view to say, I want it to play a certain way.
16:25And then also from a VFX point of view, because those guys like Caleb and Oliver
16:29have been really heavily involved in the look and feel of it as well.
16:32So they need their opportunity to go in there and to make it look the way that they expect it
16:37to look as well.
16:38And to kind of come off art direction and visual direction as well, because it might be a case of,
16:45OK, this looks great, but can we increase the noise or can we increase the density in a certain area?
16:49If we were creating a planet side location, we would expect a certain amount of flexibility in that location.
16:55It might be the flexibility to say, I want to put my pirate base here and then I want to
17:00be able to place a mountain in the background.
17:01And then maybe sculpt some of the local terrain. I think ideally from an environment point of view,
17:07we want the same level of flexibility with this system as we would expect with other game systems.
17:13Now, because we're dealing with volumetrics, it's going to be more difficult.
17:16And because we're dealing with new technology, it's going to be more difficult.
17:19But that's what we're going to ask for ultimately, is that flexibility in the engine,
17:22because it gives us so much more power from both, not from our department, from an art point of view,
17:26but from designers and everyone else who can have that flexibility in the engine.
17:30The key issue for us to get on top of really is the memory stuff,
17:35which Ben will probably talk a lot more of, which would be quite an in-depth talk, I imagine.
17:41The tech at the moment is, it's functional, but it uses, it's very memory hungry compared to what we
17:48would want to ship. I'd say we probably want it to run in about 10% of the memory that
17:55it currently costs.
17:55We want to absolutely confirm that the things that we've achieved with the current tech is exactly
18:03how we want it to look, like completely nail down the look of it. And then once we've nailed down
18:08the look of it,
18:09we can go back and say, where are we wasting memory? Where are we wasting performance?
18:15We need more debug tools in engine, really. So we can take a slice through it, for instance,
18:20and just find out where's it spending memory? And is it getting any benefit for the memory it's spending
18:27there? Like being able to sort of work out whether the asset has a bunch of areas that it's spending
18:30memory that it doesn't need, or if it's something in our compile process that is wasting that memory.
18:37It might also involve sort of switching the formats around and stuff so that it can analyze what the artists
18:42have put in.
18:43And it'll say, for instance, they've put some very crinkly detail in and some very wispy detail.
18:49And rather than just trying to store everything at really high res so that you can have the crinkly detail,
18:55to sort of, I don't know, maybe separate separate out the wispy stuff from the crinkly stuff and store
19:01them into parallel formats or something like that. And the other thing actually that it doesn't do yet
19:05is things receiving shadows from the coil. That's a thing where we kind of need to be absolutely certain
19:14of the tech that we're doing for now, because once you have to cast shadows onto other stuff,
19:20you're looking at other systems. Other parts of the engine would then have to start receiving
19:27stuff from the coil to say, yes, there's a shadow here. So we don't want to have to update all
19:33of
19:33them every time we change the coil. That is a challenge because it has to talk to a load of
19:38other systems. But at the same time, it's quite similar to how we have to do atmospheric scattering.
19:43So I'm kind of assuming that we're going to be able to kind of like thread in to generalize the
19:49path
19:49that the atmospheric scattering is using and sort of talk to the system through the same hole basically.
19:57By switching to a hierarchical format, it just means if there's a big empty hole in the middle of it,
20:02or there's an area where it's fairly smooth data, then we just don't have to spend that much memory
20:08on it. It also means that, so we kind of ray march through it for each pixel. So anytime you're
20:14going
20:14past something that actually knows up front that it's low res, it doesn't have to do as many samples as
20:19it passes through that area. That's what we've currently got in terms of runtime performance.
20:24We're also looking at doing things like, because it's quite fluffy, you possibly don't need to be
20:31running it at like one ray for every pixel. Like you could run, you could run it a half or
20:37quarter res,
20:37and then after you've done it, work out which pixels don't match up with that very well. And like throw,
20:44throw some extra rays at the bits that need fixing up afterwards rather than just sort of brute forcing
20:50your way through the entire thing. So overall, like if you, a lot of space games generally, and you
20:57know our game up to this point really has been you jump from point A to B. So if you
21:01wanted to get from
21:02planet A to planet B for example, you're just going to go into orbit and take a jump. That's okay
21:08for the
21:08most part. But for a story, a heavy story driven game, it's extremely boring. So the coil gives us
21:14the facility to almost kind of like design routes and design pacing in space. So rather than just,
21:24you know, the quickest point for me to be as a straight line, we may be forcing the player into
21:27these kind of different scenarios, which again is nice. But it also, much like when you design an FPS map,
21:34you need to design the routes through the coil as well. So yeah, that's, that's again incredibly
21:39challenging because you've got third party tools that really don't facilitate that. But we've got
21:44these tools in the engine that do facilitate that. It's about marrying those things up together to make
21:49that possible. So the coil opened up this whole gas cloud tech. And as the coil is like this large
21:57stormy nebula, we can actually use the same tech for other parts of the game. So whenever you want to
22:03enter a nebula, you can, we can use the same volume based technology to fly through the different
22:09forms and create really interesting different environments for the player to explore. So cooking
22:15is a process in Houdini for evaluating this large node graph that you make. It's a very procedural
22:22system. So in FumeFX, you generally simulate, so you calculate from one frame to the next frame
22:28of what happens. In Houdini, you can also do simulations, but you can also procedurally
22:34generate from a source mesh all the different stages that you put on on top of it. This allows
22:41you to go into one stage and change it and make a smaller iteration there and have it all follow
22:47through. One thing that we concentrated on during the development of the coil was not just the volumetric
22:53aspect of the coil as an entity. It was also visual targets for how it should look and feel
23:00at certain points in the coil. And we did this really early on. As we were developing the volumetric
23:05tech, we also looked at, okay, well, how does a location inside the coil look? How does it look
23:10as you're approaching the coil? You know, what kind of things do we expect to happen as you fly into
23:16the
23:16coil? So that could be things like turbulence on the ship, for instance. It could be VFX. It could be
23:21like localized particles that start to ramp up as you get close to this, which is incidentally
23:26something we did do. Based on kind of based on the density of the coil, you get localized particles
23:32driven by game code. So there was a lot of work that went into these visual targets and that was
23:38separating scenes out and then saying, okay, well, for instance, the Starfarer wreck, which is something
23:43we saw in the live stream, we took that as a location and said, we know how the, like Nathan
23:50Diersley went and he'd already made that video. He'd kind of defined the look and feel of that area
23:57already. So we took that and said, okay, we're taking this as a direction of how it should feel
24:02and look inside the coil. And let's try and expand out of that as well. So we built tunnel routes
24:07down
24:07to where, you know, we, we tried to fit like, how does it feel when you traverse it inside this
24:11thing?
24:12There was a lot of development that went into that, you know, some of it you see in the final
24:16version in the live stream. Again, some of it was, was kind of throw away. We, we didn't use it
24:21in the
24:21end, but it really defined what we wanted for this stuff. It's important not only to define the form
24:27and the volume of what the coil is, but how does it feel? How does it, how does it look
24:31at any point?
24:31Not just specific locations in the live stream, but also locations for the rest of the game as well.
24:38Like this is going to be a huge, a huge part of the game. So, and we've got a lot
24:42of content inside
24:43the coil. So defining how that looks and feels is important to us really late on in development.
24:49Um, we're talking maybe a week or two before we went live. We had, uh, we had a direction change
24:56on
24:56it. We, what we had made was looking pretty cool, but it didn't feel menacing enough. It didn't
25:01feel, it felt, it felt too enjoyable for a player to be in that environment. Whereas everything,
25:08like I was describing before, this is supposed to be a hostile environment. It's supposed to be
25:12somewhere that you shouldn't really go to as a player. It wouldn't be where you'd choose to build
25:17your station for instance. Um, so we, we had to change it and we had to make it look
25:26more in line with the law of it. And that, that was a color change. Yes,
25:29we went from the kind of the kind of the ethereal blues to this kind of more menacing red kind
25:34of
25:34vibe to it, which I think just changed the mood and the feel of the entire, you know, the entire
25:40chapter or mission that takes place there. And that's why like a week or two before,
25:44I think it actually, I think it was the Sunday before we were due to go live, I think on
25:49the
25:49Thursday, but that's when we made the change. Um, and it was a case of kind of me and Caleb
25:55sitting on it on Sunday and kind of trying to come up with something. Monday morning,
26:00we had a review with the directors, with CR, uh, luckily they liked it.
26:05Yeah. So we were already, um, starting to, you know, discover new uses for this technology.
26:12Uh, for example, like in Trejo's scene in, in the demo, you, you're in this kind of debris
26:17field that's, that's sort of, you know, rotating around that, that around that planet. Um,
26:23generally it looked quite flat without any volumetric shading in it. Um, fog, obviously,
26:28everyone knows I'm a big fan of the fog. Um, so we've already started using, you know,
26:32can we use this technology to compliment, for example, asteroid fields or, you know,
26:36rings around a planet. Um, we do have, um, a type of shader that will do that, but it's very
26:43kind of
26:44cheap and suffers with kind of breaking at certain angles. Um, you'll notice it in the game. If you catch
26:51it at the wrong angle, it'll kind of look a little bit strange for a split second and then snap
26:54back.
26:55But with this, because it's fully volumetric and fully kind of, you know, shading correctly to the
27:00sun model, um, that's there, um, it just looks 10 times better. And then you can fly into it. So
27:05you get that sense of full volumetric, um, shading, um, which is, which is really nice. You get that
27:10sense of depth, basically, that, that this, the other technique won't give you. It's almost like
27:13location scouting, we call it. Um, similar to how development happens on a planet, actually,
27:18is that once you've, once you've built this location, you know, you've, you've, you've built
27:24mountains, you've built rivers, you've built the sea, you know, where all your kind of key locations
27:28are. And then you can go into that environment and say, okay, I want, I want location A to be
27:33here
27:33on this mountain. I want location B to be down by the sea or something like that. And then you
27:37can
27:37work out path between it. It's a similar kind of process here where we, we kind of build a section
27:42of the coil that just works and looks cool. And visually is what art direction expects it to be. And
27:47this is
27:48where I go back to that flexibility as well, because having that flexibility means that would
27:52have a little bit more control than that in the engine, rather than just saying it would look
27:56cool from this location. Oh, but the pathway out of it doesn't really work well. We would then be
28:01able to create a pathway out there that worked well for us. Um, in terms of connecting these pockets
28:06together, that's going to be slightly different. And that's a challenge that's going to come up in
28:10the next few months. We're going to have different locations in the squadron, um, different,
28:16really cool locations and they're going to be different pockets. And we're going to have
28:20traversal routes between those locations as well. Um, and for me, the traversal routes are going to
28:26be something that I'm hoping we can really play with, you know, how do those traversal routes work?
28:32Are they going to be really closed in environments like tunnels? We, we did do some, you may hear from
28:37some of the engineering guys, like when we started really early on in development, we did a lot of
28:42rather than big open spaces with this volumetric technology, we did more confined closed spaces.
28:47So tunnel systems, um, that connect together, you know, as a player navigating these tunnels
28:53feels cool. So maybe we can look to bring some of that back in as well. And we've got
28:57different mission specific locations and squadron connecting them with cool tunnels. Design would love
29:04that as well, because it gives them an opportunity to get some flighted gameplay in there. Um, like the stuff
29:10that we made for the live stream, when you come out from tubing to the, the outside of the coil,
29:14yeah, it felt cool, but you didn't really recognize it as being a volumetric entity until
29:20your quantum traveled away from it. Now, if we did travel into Khan's base or any other specific
29:27mission location, let's close those tunnels down and see how that feels because that could be a really
29:31cool traversal. We've been really industry leading here. Um, like when you build a lot of conventional
29:37environments, there's a lot you can look back on. There's a lot of influence you can look back on.
29:41There's a lot of other games that tend to have done the same things. You know, if we were looking
29:45at an FPS environment around, I go back to the pirate base on a planet, but you know, if we
29:51had a
29:51jungle around that base, then we might go back and look at some of the earlier crisis stuff.
29:54Or we might look at some of the more recent environments that are coming online to try and
29:58kind of, uh, drive the workflow and practices that we have. But when it comes to building
30:03with this technology, because there's not really a great deal out there, it we're defining that
30:08workflow. We're defining those practices. So there is a bit of trial and error in there. And that's
30:12the difference. You know, if I was going to make a texture for a rock, I'd know exactly what software
30:16to use. If I'm going to make a voxel for a volumetric system, well, there's, there's a few options in
30:22there. Some of them are better than others. And that's what we've got to work out really.
30:26Pretty interesting with all the stuff that we're doing and thinking about and working on in the future.
30:31Uh, and as you can see, the coil is an integral component to Squadron, uh, not just as an
30:36environment, but also as a character in its own right. If you want to stay on the front lines of
30:40Squadron 42's development, head to the game's webpage where you can enlist to receive monthly
30:45updates and never miss one of our Around the Verse Squadron specials. Yes. And don't forget to
30:50check out the RSI and Star Citizen sections of the website as well. The entire site has been redesigned
30:55and went live earlier today. And we can't wait to see what you guys think of the overhaul. We're
31:00pretty proud of it. We think it's pretty slick. Yes, it is. And to celebrate the new look and feel
31:04of the site, we have some new merchandise and packages available, including a slick mouse pad
31:09from Whitley's Guide, a new Star Citizen t-shirt and the loot and scoot ship pack from Drake for all
31:14you
31:15aspiring pirates out there. Yeah, there's a few of those. Yes, there are. Also, remember you can still
31:19pick up Squadron 42 for just $15 until the end of the month with the Super Size Me promotion.
31:25Yeah, that's a pretty good deal for everything we've got in Squadron 42. For even more on Squadron 42,
31:31tune in tomorrow at noon PST for a new episode of Reverse the Verse Live where I, Chris Roberts,
31:37sit down with Community Content Manager Jared Huckabee to discuss the game further. And if you haven't
31:43seen it, check out last week's Reverse the Verse where guest Jeff Zinelli answers questions from backers
31:48about penning Squadron 42's music. Yeah, Jeff has scored a ton of films and television shows like
31:53HBO's The Pacific and the latest Pirates of the Caribbean film. And it's a great interview for
31:57anyone interested in the cinematic scoring process and specifically the challenges of scoring games.
32:03Thanks to all of our subscribers for sponsoring our shows and allowing us to bring you these monthly
32:07updates and insights. Yes, definitely. Thank you. And thank you, of course, to all the backers.
32:13You make it possible for us to make Star Citizen Squadron 42 the best damn games they can be.
32:17Yes, you do. And that's all for us from today.
32:21Yes. So until next week, we will see you around the verse.
32:55We'll see you next week.
32:57Bye.
32:58Bye.
33:01Bye.
33:03Bye.
33:04Bye.
33:05Bye.
33:06Bye.
33:07Bye.
33:07Bye.
33:08Bye.
33:09Bye.
33:10Bye.
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