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Un nuovo videodiario su Star Citizen racconta degli avamposti spaziali e della narrazione ambientale.
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00:16Hello and welcome to another episode of Around the Verse, our weekly look at Star Citizen's ongoing development. I'm Sandy
00:23Gardner.
00:23And I'm Forrest Steppen. Happy to be here with you, Sandy.
00:26It's good to have you here too, Forrest. Today, we take an in-depth look at the detail that goes
00:30into the surface outposts you'll be exploring in 3.0.
00:34From adding specific branding to adjusting the amount of wear and tear from the weather, creating these outposts is far
00:40more complex than you might think.
00:42But first, last week on Burndown, we showed you some of the bugs and blockers currently affecting the 3.0
00:48release.
00:48This included an issue where players would spawn the wrong way in Port Alisar and immediately fall through the station's
00:56geometry.
00:56Uh-oh. To see what issues have been found and fixed since then, let's take a look at this week's
01:01Burndown.
01:03Welcome to Burndown, our weekly show dedicated to reviewing progress on issues blocking the release of Star Citizen Alpha 3
01:09.0.
01:10In our week-ending report at robertspaceindustries.com slash schedule-report last Friday, we were at 83 total issues,
01:17which were identified as 12 blockers, 43 criticals, 23 highs, 5 moderates, and no trivials, with 32 new must-fix
01:25issues created.
01:25So let's see how this week is progressing.
01:28The 3.0 release is the first time that we're going to offer players real persistence.
01:34It also means that we're finally really leveraging a lot of technology that we've been building towards for a long
01:39time.
01:40It means we have to be prepared to do a lot of interesting bug-fixing that it's hard to track
01:46down, you know.
01:47It's hard to identify where these are coming from.
01:48In order to get an idea of how things are up to in the 3.0 branch specifically, Austin has
01:55sent an email to QA leads earlier today,
01:58but if you guys can do a 3.0 smoke test today, then we can have the results of that
02:04over the weekend.
02:06The thing that's been really getting to me this week, and the last couple weeks really,
02:10has been getting the shopkeeper in order, the shopkeeper animations in particular.
02:14We have these awesome shoots with a couple different actors that we're attempting to get in and behind the counter.
02:23And so right now, the counters are where the characters are doing all of this,
02:26and we have a bunch of different counters and a bunch of different characters doing different things at them.
02:32And so I'm going in and I put it in, and I put in all the stuff onto one counter,
02:36and then they all use it a different way, like I expected.
02:40And then, you know, like right now we're having a place to deliver a box when you need to.
02:45And I got it all in, and I got it working, and I was so happy, and then I played
02:48it,
02:48and then I realized that the guy's leaning right where the box is going to be delivered.
02:52And so I walk up and just like stuff it in his face.
02:54It's something that you think you have figured out, and then you see it in, and you realize,
02:58oh, I didn't have this figured out. I really should have probably thought about this harder before I end.
03:02I'm coordinating with the UK and the design team over here to go through and just get the animations in,
03:09get the face team to have this synced, so this is all now one-to-one,
03:13so she's actually playing face animations.
03:15And then getting all of that to work in subsumption so that if you go in as a player,
03:21not only will you be able to do this, but she'll be able to intelligently like, you know, turn and
03:24look and be like,
03:25hey, how's it going, you know? I mean, this right here, I mean, this is the result of thousands of
03:31hours of,
03:34you know, multiple, you know, and, you know, it's not one person. I mean, there's, you know, there's, you know,
03:41there's, you know, 70, 80, 100 people that were involved in trying to get this so that it all clicks.
03:47I think that right now, we have to ensure that we wrap up by today, and I think that we
03:52need to keep the momentum
03:53on the European time zone so that we can turn around and go, we're totally done here.
03:58And then that way, in the US time zone game, they have the momentum to switch over.
04:02Worst case, by tomorrow morning, we have to be in a position where you walk in tomorrow morning and you're
04:07like,
04:07oh, we should be trying. Let's really try, Jane, end of UK day today.
04:12Yes, that would be ideal. That would be the best guess.
04:14I'm working on usables. Those are objects that NPCs use in the game.
04:19So the frustrating thing about this is that quite a few of those things,
04:23used to work before but are now broken again.
04:26So in this video, for example, we have an NPC who grabs a cup and for some reason it jitters
04:33in his hands
04:34and then he puts it down and he pushes himself out of the booth with this cup.
04:40So after a lot of research, we found out that this is because the cup actually has collision
04:48and the table also has collision. And during this interaction, they are not supposed to collide with each other
04:55because they are both part of the same process, namely drinking in this case.
04:59But for some reason they do. So the NPC puts it down, pushes himself out of the booth,
05:05which then messes up everything that follows, including heavily clipping through the booth.
05:11To be precise though, we haven't entirely figured out if it's really an animation issue.
05:16So the investigation still needs to happen.
05:19Mission givers, there's a lot of challenges because we've got a very cinematic experience
05:23that we're trying to use with the same feather blending tech for everything else.
05:29And so we've got some challenges that the other wild lines and stuff doesn't really have to deal with.
05:36So Eckhart will finish lines in different positions.
05:40So he'll lean forward to kind of talk to the player a little more discreetly
05:45and he'll finish his line there. Whereas a lot of the other wild lines, they kind of can say their
05:51lines from many positions.
05:52So, you know, whether they're wiping a counter or standing at a counter, just leaning on it or leaning up
05:58against the wall,
05:58they can all say hello, goodbye, whatever. But Eckhart's, you really want to feel that emotion that he's trying to
06:04convey.
06:05And so reusing the same tech has been challenging in that sense.
06:10And the other thing that we were able to do is look at getting a fix on the Eckhart issues
06:18that we've been seeing.
06:19That was a combination of design of the AI team on their sprints and making sure that he's, you know,
06:25still actually present.
06:27So he was missing from the build at that point and that got fixed as well.
06:31So I've just placed that one in, which is cool.
06:33So what I'm working on right now is item highlighting in shops.
06:37We've been updating the way you interact with shop items, have a smoother shopping experience to use our existing interaction
06:43system instead of our AR data.
06:45And so if you take a look here, when you look at a weapon on the rack or a shirt
06:50or whatever, it'll highlight that weapon so you know you can buy it.
06:53But if you pay extra close attention, you'll see things like the magazine or sometimes the scope or other bits
06:59of the gun are not being highlighted.
07:01And that's because things that we have attached to these shop items will not get the highlighting, just the main
07:09item.
07:09So I'm going through and making it check all of the attached items so everything gets highlighted so you don't
07:15get weird situations like this.
07:17So how did the shopping and kiosk stuff was that?
07:20It didn't go particularly well.
07:23I mean, we saw we saw pretty much everything because the thing about shopping the kiosk is because they're all
07:27going to be the same across the board.
07:28So once you've seen all of that, you've seen everything.
07:30So we did get through everything.
07:32Unfortunately, most of the things don't work and the UI is not fully established.
07:36So the primary focus of it is just where's the UI?
07:40Yeah, yeah, yeah.
07:41So it's very similar to what it was last time.
07:43So what we're currently having some problems with right now is doors across a bunch of different ships, particularly the
07:50Caterpillar as well as the Constellation.
07:53You see the Constellation, the doors seem to be fleeing.
07:57They don't want to stay inside the Constellation at the moment.
08:01So we've been chasing down exactly why they are fleeing the nest and leaving everything within the Constellation in kind
08:10of a rough state because of that.
08:13Some people don't understand exactly how complicated our doors are.
08:16They're not just a simple open and closed because they also do things like hold the environment in and the
08:22atmosphere for your ship as well as represent certain areas of the physics grid.
08:27We're consolidating all of our door tech to all be variants of the same system.
08:34One of the things that I'm doing is that there has been some mismatch in, at least reported, I haven't
08:42found it yet,
08:45with some mismatch in the actual assets being used possibly as a result of that switch.
08:53So I'm going through and cleaning that stuff up now, making sure that everything uses the same naming conventions,
09:00everything uses the same effects or sounds as they're supposed to, or hooks those into the proper bones,
09:07because all of our doors that bring something in with the loadout will have the same expectations of what those
09:16attach points are going to be now.
09:18Yeah, we have had some interesting bugs, I guess.
09:22I think because, you know, when the project first started, a lot of this stuff was kind of more of
09:29a pipe dream.
09:30We didn't necessarily have the tech to do it. Now we've got the tech to do it.
09:33There's, you realise that those, oh, well, it doesn't really matter if something's a centimetre off,
09:38or it doesn't really matter if something's not quite right.
09:41It is now really, really important. It's been really, really good kind of therapeutic for us to kind of go
09:49back and go,
09:49actually, do you know what, we've looked at this and it's not quite right, but we know how we need
09:53to fix this now.
09:54And it's, I think it's been a good chance for us to be much stricter with our processes,
10:02much stricter with our naming conventions and our metrics.
10:06In QA, we've been amongst the first wave of guinea pigs for the rollout of Copybuild 3 internally.
10:12It's really benefited us in QA, and it'll benefit everyone else too.
10:16I've got on my screen Copybuild 3, which is our internal patcher tool.
10:22And right now, I'm just going to be incrementing a 3.0 build to the next version.
10:27So as it goes through, it's picking up on what data we do already have from our previous run,
10:31and it skips over anything it doesn't need to do and just does the downloads, it does.
10:37So previously on that last run, which went a little bit wrong, our loose files took a while,
10:43and already here we have an updated 3.0 build.
10:47The Copybuild 3 application itself is really just the tip of the iceberg.
10:51We've got many people working on lots of different moving parts to get this to actually work,
10:56from the build guys over in Austin through to engineering in Frankfurt,
11:02who have actually developed the patcher that Copybuild 3 is based upon.
11:06So really, this week's been tying up all the loose ends,
11:09had a few issues sort of last-minute realising that we couldn't launch
11:14because we needed some changes making to the build system.
11:16However, that all got resolved, and we launched hopefully successfully today.
11:20So Quantum Drive involved two major things, getting the ship across the system
11:25wherever we're going at, you know, fractions of the speed of light,
11:28and ensuring they got there safely.
11:31We've been getting the ships there, no problem.
11:34Getting there safely has been the issue.
11:36If two people want to jump to the same point, there were chances of them colliding,
11:40asteroids getting in the way, stuff like that.
11:42So our biggest issue now has been dealing with the potential collisions along the way
11:47and preventing that.
11:48So detecting at, you know, a tenth or two tenths the speed of light,
11:53am I about to hit something and stopping soon enough?
11:56We've had several issues where people would jump to the same point
12:00and arrive on top of each other and just explode.
12:03The big one we had for a while was people would jump to a planet or whatever
12:07and end up inside the star in the center,
12:09and you would just see a glowing circle and be like, what's going on?
12:13Look around, oh, I am now the star of the system.
12:16Now we're still knocking more out than coming in,
12:19and at the time we're filming this, we've resolved 54,
12:22with 46 being added to our must-fix list.
12:25And we're currently sitting at 88 issues blocking this first release.
12:28While across all of our internal branches, we've checked in over 2,052 updates this week alone.
12:33The next time our public schedule gets updated, you can see even more progress
12:37as we work to keep you as up-to-date as we are internally.
12:40Also, we've officially moved our development team over to the 3.0 branch,
12:44which is another great milestone for us to further triage issues coming in
12:47and get us ever closer to our first release to non-CIG testers.
12:51Our optimizations and polish are making for better testing,
12:56allowing us to move quicker into regression and bug identification.
12:59So come back next week to see the progress we're making here on Burndown.
13:04Just a reminder that there won't be an ATV next week while we're at Gamescom.
13:08In the meantime, you can check out the production schedule on our website
13:11to track the progress of 3.0.
13:13And speaking of 3.0, one of the features we've showcased in the upcoming release
13:18is the ability to visit a variety of surface outposts.
13:22Scattered across Crusader's moons, these outposts will be places for you to explore,
13:26do missions, and cross paths with other players.
13:28Now, let's take a look at the team responsible for making these outposts interesting
13:32and connected to the surrounding environment.
13:47So the last update we kind of showed you what the outpost archetype is, the main shake language,
13:53how it's out on the surface, whereas now we're going to go a little bit deeper into the branding
13:58and the integration, and the detailing that we're going to put into the interiors.
14:03So we're given a brief, and it will be quite light in terms of narrative,
14:09and they'll say something like, oh, Riari is a high-tech hydroponic lab
14:14that grows cutting edge by engineered plants, and they're used in medicine.
14:18So then they'll also say what the field will be.
14:21It will be like clean, organized, scientific, nice place to work.
14:24And I just convey that in a visual method.
14:26So this isn't just a process that can just be done in an instant.
14:31It's a progressive thing.
14:33So I'll do like a first iteration,
14:35and that will probably just involve maybe putting down a selection of props,
14:39and then I'll then pass that on to my leader and art director, and they will review it.
14:44And they will say, okay, maybe the field here isn't quite what we need.
14:50We need something maybe a little more sterile or something a little more cleaner.
14:54Say, for example, something like the drugs farm, we need something a bit more sinister-looking.
14:58So it's a process of layering the dressing and then building up an authentic atmosphere.
15:04So we go from that initial point, and then we'll get to the end where we're kind of happy with
15:09it,
15:09and we feel like when you walk in, then the player goes, wow, this looks cool.
15:13Traditionally, what you do is you'd concept out your Vesta shot
15:17and kind of describe where the location is, whereas now with the tools we have,
15:22it's actually more natural, more organic to just have a little scout around.
15:26That way, you kind of get natural happy accidents.
15:29So for example, you might find a location where there's a nice kind of ridge line,
15:35and then there's maybe a gas giant just peeking over the horizon,
15:39and then that's when we start saying, this will be a good location.
15:42You also get that second element of believability where, you know,
15:46rather than just putting down an arbitrary location, it's would people actually build there, you know?
15:52But this way we can almost validate the location, you know, is it believable?
15:56Would people build there? And then that's when we can start establishing our compositions.
16:01I've found a lot of times where I've decided on a place for an outpost,
16:04and I've dropped the tide point down, and then I fly maybe a mile to the left,
16:07and I think, oh, this is a much better place to pull that outpost, delete the odd one,
16:12move my tide point, drop it down there, and it's the process of 30 seconds.
16:15So, you know, it's very quick to iterate on.
16:18I do basically fly around the moon and think, oh, this is much better.
16:22Oh, you know, the gas giant hanging in the sky just here really looks good,
16:26so let's put an outpost here.
16:27And I tend to move things around quite a lot.
16:29So, secondly, about integration and believability, it comes to the surfacing, the weathering.
16:35So, when you see an outpost, you kind of should see an indication
16:40about how long he's been in that landscape, the type of climate that's been happening there,
16:46and thirdly, the type of people that live in this location.
16:49So, these three factors go a long way for describing, you know, the visual style of this location.
16:56So, if one of these elements is slightly off, then it'll kind of break that immersive element.
17:03So, it's something we always pay attention to.
17:05Then we integrate these outposts onto the planet, and basically that just means how it fits in.
17:13If it's a sandy planet, you want the outpost to have some of that to help you embed it,
17:18and it doesn't look like it's floating on this planet, and it's nothing to do with the environment.
17:23Obviously, it's an environment, and it will take part of that on.
17:26And we have several levels of how we integrate our outposts onto a planet's surface.
17:31We've got the outpost itself, the exterior walls, and the ramps, and the stairs.
17:36They have a blend map which takes on some of the texture information from the outpost.
17:43Some of that's done procedurally. So, by the base of the outposts, it actually uses a bit of tech to
17:49blend the planet's surface into the texture of the stilts and the ramps.
17:55And then we have our actual walls having their own blend map.
17:58So, if it's a sandy one, it will blend. Sand will come in the gaps and the crevices.
18:03And then the icy one, the same kind of thing, ice will build up like frost.
18:08If it's like in a jungle environment or more like a lifelike biome, then you might get moss or vines
18:16or something like that.
18:17So, that's the sort of blending we do on there. And then we do the decals themselves.
18:21So, that's like projected decals of similar things, but we can do a bit more localized kind of build up.
18:28So, streaks of coming down the outpost and build up on the roof of the outpost.
18:35So, if there's been a sandstorm, then it's blown over the top and we can show that.
18:39We can actually control the amount of build up itself.
18:42So, using the blend maps, we can see how new this outpost is.
18:47Is it sort of quite recent? It might only have patches of dirt around?
18:52Or has this outpost been on there for many, many years?
18:56And it's sort of, maybe it's abandoned and it's got stuff coming inside as well.
19:00And it's covered, like you imagine like an arctic base has been there for many years.
19:05It would be covered in just frost and ice.
19:08And you only get those hints of what the underlying wall might be.
19:12So, on the interiors, we've been defining what these spaces actually are.
19:16So, rather than just having these generic volumes, we've been defining what the archetypes are.
19:21So, you know, if you're going into an engineering space or a medical or habitation, things like that.
19:27Secondly, it's about the brand, who owns this place.
19:32So, we usually get a good brief from the law team and that's our starting point.
19:36There are different corporations that we have for the outposts.
19:40So, for example, we have Riyari Corporation and Shubin Interstellar Corporation.
19:46There are slight differences between these two.
19:49So, the Riyari Corporation is probably a better place to work.
19:53It's more pleasurable for the employees and they focus more on sort of agriculture.
19:58The Shubin, on the other hand, is maybe slightly more oppressive.
20:02It's not probably as pleasant a place to work.
20:06In order to do the branding of the outposts, we first get the information from the writers, the law and
20:12the narrative.
20:13So, what these outposts are, what company owns them, if they're a company or if they're independent.
20:18And what's the sort of general theme and narrative of that company and how it looks and how it's dressed
20:25and things like that.
20:26So, for example, if it's Shubin, it would be very corporate.
20:32It's a really big corporation. It's kind of sterile.
20:35They don't necessarily treat their workers badly, but they're sort of like just their workers and there's not a lot
20:42of character there.
20:44Something like Riyari is still corporate, but it's a little bit more considered like a nicer place to work.
20:51So, you should see that in the way it's dressed and even the layout and things like that.
20:58And then you've got like the more rundown corporations like Artcorp that feel more dirty.
21:04They really don't treat their workers very well.
21:06And then you have the independent companies.
21:09So, they wouldn't be as dirty necessarily, but they wouldn't be as tidy as a corporation.
21:16They'd have a bit more character because they're kind of like a home from home.
21:20So, someone saved up a bit of money, managed to sort of buy up a mining machine and started their
21:26own little independent.
21:27So, they'd be more character. It might be a bit messier, but they'd kind of, they'd be living there as
21:33well.
21:33That's kind of interesting too.
21:35That lawn stuff, which should be shown in the dressing.
21:38So, you should be able to see what kind of company it is just by that.
21:42But then we've obviously got the actual branding, like the logos, the, and the color scheme.
21:47So, we go about that by, instead of doing all this stuff bespokely with materials, we feed in our colors.
21:57Like our primary, secondary, tertiary colors, and any kind of logo colors and graphical stuff as well.
22:06Into DataForge, which is just a library of data really.
22:10And then that feeds back into the materials.
22:13So, we don't manually make like lots of different materials with different colors.
22:16We just put in our RGB values and then those colors get fed in.
22:20So, whoever owns say this mining station, if it's Shubin, then it will tie into that color scheme and take
22:26that.
22:27So, it's a nicer way than having to manually do everything.
22:31And then we've got the logos themselves.
22:33So, we have our, we have like an atlas of logos and idents and lines and fonts and things like
22:41that.
22:41And then they get fed in as well.
22:43So, if Shubin owns this, then it takes this whole set of materials.
22:48And then if Viari owns it, then it takes that set of materials.
22:51And if it's an independent, maybe it doesn't even have a logo.
22:53And we try not to like just plaster logos everywhere.
22:57We want to be a bit more subtle.
22:58You'd obviously see some, but it depends on the corporation.
23:01But, you know, we don't want to see like Viari, Viari, Viari everywhere you look.
23:05So, some corridors might just have like a certain colored line that help you link that to the company.
23:13And there might be some, not necessarily logos, but just symbols and things dotted around.
23:19Again, just reinforcing that, that brand.
23:22So, that's, that's how that's done.
23:25And, and it's, it's great that it's all procedural.
23:27So, we can just drop one down, say, okay, this is this one, this is Artcorp.
23:32Automatically, I mean, there's a lot of setup, but it will take the color scheme and the logos from that.
23:38It becomes an incredibly complex job when you have to consider so much about the way the surface of the
23:44planet works.
23:45And these environments aren't just a static level that is going to look the same every time you go back
23:50to it.
23:50They'll be in a constantly evolving kind of spinning planet that eventually is going to be orbiting the sun in
23:55a way that makes sense.
23:57It's a lot to sort of think about.
23:59So, you have to consider things like vistas and lighting are going to change.
24:03And you can't, as an environment artist, you can't pick a perfect place to put an outpost and know that
24:09it's going to always look like that.
24:11So, we have to make sure that we're working towards environments that look good in many different scenarios.
24:19Because as the moon rotates, it's going to go from day to night.
24:22So, we have to make sure that it looks good at night and day, but it's the same outpost.
24:26So, there's a lot of systems talking to one another there.
24:29It's a, it's a complex task.
24:30If we think about the eventual purpose of making this entire process at least semi-automated, we can't maintain individual
24:40outposts.
24:41So, we could make an outpost by hand and export it to a level.
24:44That's an easy job.
24:45But if you think about having to make a thousand outposts by hand and exporting each one of those to
24:51the level, that's a thousand outposts we have to maintain.
24:54If we go back down the chain, all the way to that initial, initial geometry prefab, if there's something breaks
25:00in an outpost over here, then all we have to fix is one prefab over here.
25:04Whereas if something broke in an outpost that was custom, we wouldn't be able to fix it across all the
25:09other outposts at the same time.
25:11It would only ever be fixed in that custom outpost.
25:13So, in a procedural system, you're only ever dealing with pieces, but you fix one of those pieces, you fixed
25:20all the pieces in every instance of that outpost that is around.
25:24So, it may be complex now in terms of initial setup, but once the pipeline tools come in, it should
25:31be a lot easier to maintain than if we were making a thousand custom outposts.
25:36Yeah, so that's the reason really.
25:38It's initial complexity and initial sort of beating your head against the wall of trying to figure out the system.
25:45But once that system is in place and once the tools are in place, the end result is quick and
25:50easy to get and it also is a lot easier to maintain.
25:54So, in terms of how I use the editor, I'll be given like a set of brushes, probably from props
26:02guys.
26:02And I'll also get requests for other props because when I construct the scenes, it'll probably go with my art
26:11director and he'll say,
26:12look, you know, we need something more on the ceiling.
26:15And so lately I've been making a lot of ceiling pieces and these could be, for example, in the labs.
26:20They needed something more technical looking.
26:24So, what I've done, I've created more ceiling vents, positions for lights particularly.
26:29So, I work quite heavily with our lighting artist and he'll say, oh, I need, you know, some sort of
26:35like degree angles in order to put more lights onto it,
26:38to illuminate areas of the room, which if it was just a flat ceiling would be quite difficult to do.
26:44So, given him these options, he can do his job more effectively.
26:50We work with prefabs as well and these are usually pre-constructed brushes.
26:55These can have things like lights in and sound effects and stuff like that.
26:59So, when I put them down, they're kind of all ready to go and gives a more immediate sort of
27:03look as to what we require.
27:06So, because we've got all these systems talking to one another, we have a lot of complexity in the way
27:12these things are built.
27:13And just as an example, the outposts at the moment.
27:16In a traditional game, you would probably put all your geometry together, light it in an editor and export that
27:23level and it will go into the game.
27:26Quite a two-step process.
27:27For the outposts, we start with a geometry. We put those into a geometry prefab.
27:33A collection of geometry prefabs goes into a building piece prefab.
27:38Those building pieces then go into a final building, e.g. an outpost.
27:43Those outposts go into an object container that gets put into an outpost cluster preset.
27:49That preset gets spawned on the moon. The moon with its presets gets put into another object container.
27:55That object container goes into the solar system and the solar system gets exported to the game.
28:00So, there's a multi-linked chain of stuff that we have to maintain and manage.
28:07And all this is reliant on naming conventions and file structures.
28:11So, we're working really hard at the moment.
28:14Basically, the tech artist who wrote it, Alex, who you've already talked to, tried it himself.
28:19And this is the system he wrote. He couldn't manage it. It was too complicated.
28:23So, we are working very hard at the moment to basically take all that middle section out completely and automate
28:30it.
28:31So that the artist will only ever be involved with that initial start.
28:34And all the way through to the preset creation and putting the presets onto the moons.
28:40All the middle bit with the multiple prefabs and presets and object containers is all going away and should be
28:47completely automated.
28:48Because asking an artist to maintain that level of complexity while at the same time being creative is an impossible
28:55request.
28:56So, our tools guys and our tech artists are working very hard to make that as streamlined as possible.
29:01But it's becoming more and more complex as we go along.
29:04It relies on us basically building a rule set and a set of automation that makes it completely invisible to
29:10an artist and an end user.
29:12Because otherwise, people are going to go insane.
29:14What we're looking to do is have the idea of you have a quite a vast landscape.
29:21And the player kind of locates one of these outposts.
29:26They should start thinking about how long has it been there, who owns it and things like that.
29:31And what we're looking to do is layer that narrative from the outside to the inside.
29:36Also, all the way down to how the food is arranged on the interior.
29:41Across from the outside to the interior space.
29:44The player should start getting those notes of the narrative all the way through.
29:49And I think in contrast to these barren landscapes, to these pockets of quite intense detail, it's quite a nice
29:57contrast.
29:57So now we're getting a really good idea of how it feels for the player to explore and kind of
30:05traverse around these locations.
30:06So we're continuing to polish, we're continuing to refine and just get that experience to a very high standard.
30:13So we're looking forward to the next release and then getting it out to the public and get people exploring.
30:21As you saw, these surface outposts are our next step forward in environmental storytelling.
30:27That's right. There'll be narrative clues about who owns the outpost, how long it's been there and who's lived inside.
30:33Be sure to keep an eye out for those details when paying them a visit.
30:37And that's it for today's show. Thanks to our subscribers for supporting all of our shows.
30:41August's issue of Jump Point will be released tomorrow, so be sure to check it out.
30:46And finally, a big thank you to all of our backers. Your continued support of this project is what makes
30:51it all possible.
30:52Be sure to tune in to Twitch on Friday the 25th at 7 UTC to catch our Gamescom presentation.
31:00And until then, we will see you...
31:02Around the Verse!
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