This post is a transcript of Around The ‘Verse – Episode 2.08, material that is the intellectual property of Cloud Imperium Games (CIG) and it’s subsidiaries. INN is a Star Citizen fan site and is not officially affiliated with CIG, but we reprint their materials with permission as a service to the community. INN edits our transcripts for the purpose of making the various show participants easier to understand in writing. Enjoy!



Around The ‘Verse – Episode 2.08 – Transcripts

Intro

Sandi Gardiner – SG: Hey everybody welcome back to around the verse, I’m Sandi Gardiner

Ben Lesnick – BL: And I’m Ben Lesnick

SG: This week on the AtV interview, Jared sits down with Vanessa Landeros to discuss her work as a character animator

BL: And continuing with that theme we talked to David Peng about where Star Citizen dances come from.

SG: But first we moved into our new studio and we are currently in chris’ office.

BL: Yes! This is not the permanent AtV set. Mr Thomas Hennessy and friends are currently putting a lot of blood sweat and tears into it because constructing our new movable sets for now, however we are in a corner recording this weeks episode and we hope you enjoy it!

SG: And more importantly 2.0 is out on the PTU.

BL: You guys have seen this already, we’re up to about 15000 players right now. BugSmashers are hard at work fixing the various crashes and lag spikes and issues you discover. It has been an incredible process though. 2.0 is working exactly as we imagined it, people were getting in there and seeing how Star Citizen works, it’s all coming together. There’s the FPS, there’s the multi crew combat, there’s all sorts of parts everyone’s been waiting for, it’s a great experience for us, we feel good here.

SG: Yes of course 2.0 has been on the PTU since our anniversary livestream.

BL: Yes! I know people look to us and say you planned that but it was touch and go all the way but I think Sandi had to threaten Erin Roberts at one point perhaps.

SG: Yes…..

BL: But they got it out to the first 1000 during the livestream and we’ve been ramping up since then. The stream itself was a great success. It was three hours with Chris, Erin and the rest of the team. If you have not had a chance, go back and check it out, lots of new Star Citizen content in there.

[Sandi and ben laughs]

BL: Sorry it’s my serious face!!

SG: I thought Ben was going to cry and with the third anniversary of Star Citizen comes our anniversary sale, what do we still have left to go? The Black Friday sale right?

BL: Yes so if you are watching this on Thursday, which means you can pick up a merchant ship, it’s also Thanksgiving, happy Thanksgiving by the way.

SG: Yes

BL: You can pick up a merchant ship today or starting tomorrow all of our aniversary ships are unlocked. You can pick and choose, you can use the CCU to upgrade so you don’t have to buy multiple ships

SG: Cross chassis upgrade just in case

BL: Cross chassis upgrade system. Go get the ship of your dreams, here’s your chance!

SG: I am actually in London today.

BL: Are you?

SG: I am, So you don’t really see me, I’m an optical illusion.

BL: What could you be doing? We’ll find out later I guess.

SG: Yes we will. It may well be on my Facebook page, we’ll see.

BL: Watch Sandi’s Facebook.

SG: It’s been a busy two weeks but now let’s check in with our studios around the world for news from around the verse.

BL: Yes!

3:38 Los Angeles, CA

[Sandi laughs]

EKD: Hey and welcome back to, not Santa Monica, we’re actually in Los Angeles, California now. Here’s the weekly update. I’m Eric Kieron Davis with …

DV: Darian Vorlick.

EKD: Alright. The big updates are: we’re in the new building! That’s a really big one. Hence the echo.

DV: Yep.

EKD: Still white walls, blank walls, but we’re starting to get this place up to be a really fun place to work. I know everyone is excited to be in the new building.

DV: It is a massive place. It is huge!

EKD: Yeah. We’re having a good time. You can already tell it’s jazzed everyone up to do some cool stuff. So we’ve got a few other updates for you. Darian, what have you got?

DV: Let’s see, the first one we’ve got is we’ve gone to PTU. So if you guys saw that launch during the livestream last week, the PTU for 2.0 has been live and we are updating it pretty frequently aren’t we?

EKD: Yeah. Daily. As daily as we can!

DV: So what we’d like to do is solicit you guys to provide us with feedback as far as the weapon balance, the flight tuning: these are all the pieces of information that our designers like John Prichard, Calix Reneau and Matt Sherman, all these guys that work on the various balancing tasks, this is where we get that information from. We love that feedback from you guys so please provide it.

EKD: Totally. A couple of other things. On the art side of things, they aren’t so impacted by the 2.0 release but they are working hard on ships. So the Reliant is being worked on here, actively by Elwin and the team; we’ve also got a lot of concept work going on; we’ve got rigging, so with the Mark Hamill character was just released …

DV: Yeah.

EKD: … we’re working on rigging that character to get him ready to rock and roll, beyond what you guys already saw.

DV: It’s awesome! It’s really, really awesome.

EKD: So I think that’s it, now here from LA.

DV: Yeah.

EKD: Alright. Again I’m Eric.

DV: I’m Darian.

EKD: Signing off. See you next week.

DV: Have a good Thanksgiving.

5:18 Austin, TX

JR: Hey guys. Jake Ross here, Associate Producer of the Persistent Universe. I’m here this week to talk to you a little bit about the Persistent Universe landing zones; we’ve got some female animations I want to talk to you about; and the Starmap: so look forward to that.

JR: But before that, I want to thank the Community team for coming out here to Austin and recording the “10 for the Producers” segment that you might have seen come out on Monday, featuring yours truly and Jason Hutchins. I thought that segment went really well and, yeah, you never really know what you sound like until you really hear yourself on video. It sounds strange: different from what’s in your head, so that’s always kind of weird. But anyway let’s get onto the real stuff.

JR: So this week we’re talking about retargeting animations to the female. We’re taking our male animations and we’re retargeting them to the female skeleton for all of the ship interactions. We’re in the process of trying now, we’ve got our female character in-game running around just like we like her, so now we just need to make sure that all the animations that are in-game currently for the male are in for the female. And once that happens we can release the female out to everybody and we won’t have to worry about the male doing things that the female can’t.

JR: So, yeah, we’re in the process of doing that. We’re also in the process of coming up with a list of new landing zones. Now these aren’t like planetside landing zones like we’ve been talking about but we want to be able to provide players with some new content for space landing zones and other more “mini” landing zones as what we’re calling them. So we have these Tier 1’s like ArcCorp’s Area 18, Hurston, MicroTech, Crusader. But we have these other mini landing zones that we want to put in there for players as filler between the Tier 1 landing zones so we have more opportunities to do missions and things like that. Our designers here are working with the writers in LA and we’re going to come up with some cool things that fit within the fiction. So hopefully you guys will be able to see a little bit of that here in the near future.

JR: Speaking of landing zones we are moving on to our final art polish phase of Nyx which includes a lighting pass and VFX pass. We’re beautifying that space and it will look really, really cool once Emery and Lee get their hands on it for lighting and VFX respectively. Looking forward to seeing how that turns out.

JR: Last but not least, we’re working on a 2D Star Map poster. Just for you guys to hang on your wall and print out. It’s going to be something, I think, really special. We’ve got Ken Fairclough, who did the concept art for Crusader and MicroTech, that you guys may have seen, he’s working on it in tandem with Ted Beargeon who’s done some of our more technical space-station props and things like that. So between those two guys we’re going to have something really awesome to show you for that here in the near future. So that’s going to be cool.

JR: Yeah! I think that’s all I’ve got for you this week guys. Thanks.

8:38 Foundry 42, UK

TJ: Hello and welcome to wet and windy Manchester here in the UK. I’m Tom Johnson, Senior Producer and I just want to give you guys a quick update as to what work is going on over here.

TJ: So, as I’m sure you’re all aware, we’ve had a big push for the 2.0 release to PTU. Really excited to get the Crusader map with all those new features and systems out to you guys so you can really get that first taste of how Star Citizen is going to feel. I appreciate there are a lot of crashes at the moment, so we are busily working away at getting all those issues resolved. And then we can get this build out to the masses and really go fully live with that release.

TJ: So we’re still digging deep on that one and in the background there’s still plenty of work going on. In the Art team we’ve got lots of work in the ship side of things. So we’ve got the Starfarer, which is huge, so we’ve got a lot of guys chipping away on that; the Saber and Vanguard as well. The Environment team are moving off the Crusader map, having done a sterling job on that, now working on Asteroid Base. You might have seen the Mark Hamill “Old Man” Squadron 42 character reveal at the livestream just passed, so now we’re focusing on another character, called Graves, so be excited to show you more on that progress in the coming weeks. And the UI team here, they’ve been reviewing the holotable, taking a look at how components work and shopping, so we’ve got all that stuff to come to you guys. And there’s always plenty of stuff going on in the background on Squadron 42 with the level designers. A lot of that stuff is difficult for us to really communicate without giving the whole story away but there’s plenty of work and reviews going on with the levels there. And Production are taking a big look at the long term roadmap for Star Citizen and Squadron 42 at the moment: taking a look at where we really want to spend our resources.

TJ: Yeah, that just about wraps it up for the UK and see you in the ‘verse!

10:45 Foundry 42, DE

BC: Hey everyone. Brian from Frankfurt. This week’s update I’ve brought Jason in again, our lead cinematics animator, you guys remember him? So I thought I’d let him about some of the stuff he’s recently done, and some of the stuff he’s working on right now.

JC: So we just finished up the Mark Hamill reveal which looked really good.

BC: That looked cool, yeah.

JC: Yeah it worked out really nice. And right now we are basically locking down our new animation tools from Red9 which we are really excited about. That’s going to make a huge improvement on our pipeline, which will be fantastic.

BC: What type of improvements are coming online?

JC: Well, just looking at the flexibility for controls and stuff it gives us, less limiting to the overall process, right, we’ll be able to change stuff out or get higher polish or fidelity on the animation which will be really good.

BC: Cool.

JC: At least at a faster pace.

BC: Yeah. And even the team, you guys go back and forth between MoBu, or MotionBuilder, and Maya.

JC: Absolutely. MotionBuilder is a huge part of our pipeline. There are some things that Maya simply does better or it’s easier to get results from and so making that part of our pipeline was a huge process. But we certainly don’t want to remove MotionBuilder because there are some tools in there that are just fantastic.

BC: Yeah, that’s cool. What you got coming up next as far as characters and what you’re pushing on?

JC: So right now we’re pushing on stuff, basically getting the right structure for Mark Hamill: we’re gathering a lot of data on what would give him the best presence in the game. Because he’s such a huge part, right, we want to make sure that when he’s on set, on stage, he has a huge presence. And so we’re trying to make sure we give that to the player. But the only way to do this is to collect data and show it and see what works best.

BC: Absolutely. Cool.

JC: Yeah. I mean that’s about it right now.

BC: I know there’s other stuff but we can’t really go into all the details right now but you guys will see more stuff and hear stuff from us regularly. So thanks for watching and we’ll see you next week.

JC: Yeah!

13:29 ATV Interview with Vanessa Landeros

DiscoLando -DL: Thanks guys. On this week’s AtV interview i’m sitting down with Vanessa Landeros. One of our animators here in the Austin studio. Vanessa; how are you doing?

Vanessa Landeros – VL: Hi. How are you doing?

DL: Good. So an animator. That’s a pretty broad term

VL: It is.

DL: Give us a better idea about what you do as an animator for Star Citizen.

VL: Well here at Star Citizen in particular we do motion capture most of the time. That’s markering up actors, and getting them ready to do performances for us to use in game.

DL: Yeah?

VL: Yeah. So that’s what I do. I actually run the local motion capture system here and I also solve the data and I also bring it on to our Star Citizen characters that we have right now.

DL: You just said solve the data. What’s that?

VL: So when we have a motion capture shoot, we shoot our actors performance with their markers on. The cameras capture these movements with the markers and the data gets translated into something that we call a C3D data and then we bring that into MotionBuilder and do what is called a retarget and we do that to the characters that we are given and then we start the fun editing.

DL: I’ve seen a lot of emails about retargeting animations that seems, I don’t know much about it but from the emails that I’m CC on that seems like quite a task.

VL: It is when you have a vast amount of animations to do so whenever there is this change to the skeleton we need to do constant retargets and so that’s what the all the emails are about sometimes.

DL: Recently we changed the skeleton front model. So you had to take all those existing animations that have been recorded for the previous skeleton, retarget them for the new one?

VL: Yes that is correct

DL: I understand from talking to our own Mr. Hennesey that you did some work on our emote system.

VL: That’s right

DL: All the emotes? Specific emotes?

VL: Well I implemented all of the emotes yes. There was a time where we had a rush and I may have had some help but my senior he gets pulled off into so many things, and so does my lead so i’m left with the chunk of the task and yeah. I implemented all the emotes and also working on camera dampening.

DL: You have to tell me. What’s camera dampening?

VL: Sorry! I speak like everyone already knows this.

DL: Oh I know obviously but our viewers might not know what camera dampening is. So i’m asking for them

VL: Right. So camera dampening as some may or may not know, that the camera may have made some people sick or you know a little queasy to look at first person view for emotes. So what the camera dampening does it kind of quiets that noise. So you don’t get that sea sick feel and that’s what we’re working on right now to get it, kind of getting in testing it, see what people like or don’t like about the camera if it’s still too much or not. That was just submitted i’m off that now. For now at least until we get more feedback but right now I am working on the medical animations which should be exciting because the idea is that once you die you respawn in this medical facility or in this room just say. You respawn and there’s a doctor, a nurse whatever in the room; checks you out and then you have the option to leave, or let the doctor scan you, or heal you, or whatever. So that’s the kind of mechanic that i’m working on with my designer at the moment and we’re going to get that through and hopefully testable within the next week.

DL: Alright. Where did you come from before this?

VL: Before Austin, Texas actually I lived in California. I was over at SCEA which is Sony Computer Entertainment America and I was doing cinematic work for The Order at the time.

DL: The Order 1866?

VL: 1886

DL: Do I look like the years?

VL: I hope I didn’t mess that up!

DL: It’s alright. I know that game has a little infamy to it

VL: Right. Well as far as cinematics go, i’m happy that I worked on that portion. It’s a beautiful game it really is.

DL: Fair enough. What’s something that you’re very proud that fans may have been able to see in game right now?

VL: Apart from getting all my emotes done that’s for sure! I know that is something that is kind of a big part of the game, the chat system, the communicating system…DL: The dances

VL: The dances *laughs*

DL: Come on talk to me about dances

VL: Whatever you know. The dances man it’s just whatever gets people to have fun. That’s what we want we want to just add content to kind of allow people to express themselves in whatever way they want. Be it through interpretative dance or flipping you off whatever.

DL: Do you put every dance you get into the game or have there been dances where you were like that’s just too much?

VL: Well you know we do do select of course. Not everything we shoot on the mocap stage makes it through so my director may lead a review of all the data with me or by themselves and then they give it to me and go “This is what I want you to do” or “Why don’t you edit this and then we’ll see how it looks in game” So it’s really like a lot of testing sometimes and then sometimes it’s just like no we’re not using that.

DL: Have you seen the infamous Ben dance? Are you familiar with the Ben dance?

VL: Ben Dance? No.

DL: Justin see if you can put the Ben dance down here can we? The Ben dance?

Yeah. So what do you think? Will that make it into the game?

VL: You know what? It’s fun so I would say yes.

DL: I don’t know if we can promise that but we’ll try. Alright. Vanessa thanks for taking the time to talk to us.

VL: It’s been a pleasure.

DL: Back to you guys.

20:16 ATV Behind the Scenes: Character Animations

Jared Huckaby – JH: Thanks guys. This week on ATV behind the scenes were sitting down with senior animator David Peng, who’s going to take us through some of the changes to the skeleton recently including retargeting animations and maybe he can show us some fun stuff towards the end. David, how are you doing man?

David Peng – DP: Hey how’s it going man?

JH: Good! So let’s just right into it. The skeleton, we’ve heard a lot about how we’ve changed the skeleton recently. You’re driving, take us through it

DP: Sure, sure okay so I guess the easiest way is just to show this basically. Whenever the character is updated, whenever you have portion changes it’s gonna affect the interaction with everything: seeds, controls, relationship to weapons, things like that. I’m going to go through and show here how we go through a retargeting process and you can see the difference.

DP: What we have right here right now, this is our version 4 rig, character. This guy is from about a year, year and a half ago. Based off of our new character you can see… if I rotate here… his back isn’t reaching the back of the chair, arms are going through things like that. So whenever we do a rig change… This is a persistent universe asset where the guy is just sitting in a chair. Now I want to go over here and I’m going to show the difference between the new version 7 rig and the version 4.

DP: So let’s see if I can do this here… alright so here’s our guy… put on his outfit here… hide his arms.. Alright there we go! So you can see the biggest difference here… Actually lets see if I can scrub back and find a version where he’s entering. Let’s take a look here, so you can see there is a difference in height and most of it really isn’t in the legs so much, it’s really in the spine area.

JH: Now why did we change the skeleton?

DP: The main reason why we change the skeleton is because we wanted to get the portions just right so that they match and the… I don’t know, sort of that balance between the average and ideal human you know.

JH: Okay

DP: So when the order came out for us to do that, Amarr.. As soon as we hear about it we jump on taking the old skeleton and attaching it to the new skeleton. It’s like we’re teaching and training the new skeleton to follow. Right now it’s a live retarget so this character if I move this controller here that the character is actually… if I have this actually set here, this is the before.. So if I have the new V7 rig, these are the anchor points that are following the hands, the feet, the knees, head position and things like that.

So our goal is one, to update our animations to the new character and then the second part of it is to go through and do a clean up. In a case of this animation I’ve already gone through and done a rough body fix. I haven’t gone through and cleaned everything up exactly. If you guys are wondering why there’s only one arm rest chair it’s because it’s the end of a couch, on the left side, it’s not a crappy chair or anything.

JH: So in the future chairs only had one arm rest.

DP: They don’t have the budget for both arms. So if I hide this here you can see when the guy comes over here and crashes in… let’s go back to the end here.

JH: So this was an animation that was recorded originally for the V4 skeleton and you’ve retargeted it for the V7?

DP: Yeah this probably for the version 4 and the version 5 rig and was updated to V7. We took this old data because with optical data, there isn’t really a shelf life for it for the most part and it’s really accurate so you can go through and you can do a fresh solve or retarget, probably 15 20 times before you start seeing a different. If it’s a raw solve where you’re taking the point hud data and solving it onto a character for the first time, you can do that as many times as you want.

JH: Okay

DP: But yeah on this one what we’ve done because you’ve seen the difference between the V4 skeleton. We’ve gone through and adjusted this so his back is up against the chair, his arms are raised up to here. There’s also things like his hand might sink through, it might raise, it just depends on how different the old character is. You can also get this to, if we do new mocap we might have a performer that might be like they’re both six feet tall and the performers six feet tall. If the actors spine is a little longer or the legs are a little longer or something like that it’s going to affect that reach with things like that. One of the things that this really affects… For PU it’s mostly cosmetic.

DP: Let’s see if I can find a full body fix so you can see the whole thing here. So once we get it all sewn together, you’ll have a complete… Adam said that’s updated and so we just want to keep it squeaky clean so it looks like the guys actually sitting in the chair, he’s actually picking up the cups, he’s not hovering over everything and going through. Now retargeting is a little more difficult with ships.

I’ll drag this over here, this is probably helpful. For about nine months, one of the things I was doing was I took on a second job of doing ship fittings and that was going through and evaluating what was done with the cockpits and how all that stuff worked with the characters. With fighter aircraft it’s crucial that your eyesight is in the exact spot. One so that you can look around and see what you can see, see the threats and stuff like that.

On the vanguard we spent a lot of time and going through and really looking at where the place the pilot so that if you had an occulus on you could see the threats over your shoulder and things like that as much as possible. If something changes here, let’s see right here you see that this light blue brick here, that’s the laser or the bullet, you got the gunsight and then you’ve got the entire characters seated position; everything has to triangulate in a straight line to a fixed point to shoot a target.

If we put a new character in here and the spine is shorter or taller, then that affects the entire chair, it could affect the controls and things like that, we want to avoid it as much as possible. I wasn’t on the project early on, I’ve only been here a little over a year and these are things that the teams discovered that they need to address and head off, so moving forward we shouldn’t have anymore of these problems.

JH: That’s game development.

DP: It’s game development. They’ve got this template here, this is a dual stick template. Now we have I think 7 different types now that are standardized across to be used for all current and future ships. Anyway

JH: I know know a lot of people are very interested in our dance animations.

DP: The dance? *laughs* Yeah the dance stuff. Yeah ok.

DL: Show us a little bit about what goes into that maybe

DP: Yeah sure ok. Alright so we have I guess kind of two gears that we’re working in.

One is if we get assets that are shot. In this case from Imaginarium in UK our job was to go in clean those assets up, chop them up and then get them, get them working in the game. So like you guys have probably already seen these, but here’s a couple of examples of, I guess we’ll just play these. So this is one of our British actors and it’s cool because both mocap teams have different styles of dance. Anyway, but let’s see here. That’s the club dance shake. This is the club step. Nice vanilla want to get yourself warmed up on the dance floor. Pull a hip. Then you got the spin. You got the little two step slide there. It’s not really like a full spin it’s more kind of like the merengue bust stop, box. Look at those hips. Alright we got Get Crazy. Get Crazy is the..

DL: Is this somebody on our UK team doing this?

DP: This is all UK performance yeah.

DL: You got to talk the folks in the UK

DP: *Laughs* This is probably my favourite one just because I was expecting for the bug stop, the what’s it called? Yeah sweet cherry pie. We got the shimmy. Then we got to do the shake. I love this cause this is a prelude to..” Now watch me whip, now watch me nay nay”. We got Relook back.

DL: What the? *laughs* UK you got a lot to answer for!

DP: Like I said yeah it’s cool because it gives us a lot of variety. You want everyone going at one hundred eighty beats a minute like boom boom cause then it’s all the same but if you got people that are just doing their own thing reacting to music differently, different poses

DL: And these are all in the client now?

DP: These are all in the client yea. These are in and we’re in the process of getting these so that, we’re definitely, you can use them for NPC players using them and players should be able to use these as well.

DL: Can you show us something that’s not in the game yet?

DP: Yeah here, this is from an Austin shoot so this is the other shoot we switched to and that is if we, if the designers are like “We need something and we need to have it really soon like tomorrow or two or three days”. There will be some cases where maybe Imaginarium is full so we’ve sort of become like the second unit the backup unit and this is when we did like three NPC dances just for a little bit of variety. Did three intensities. Here’s the first one, and this one is “dude walks up” and same thing he’s just getting kind of warmed up. You know he doesn’t want to put himself out there too soon. He’s like mhmm

DL: Don’t know why but this reminds me of you Tom.

DP: That guy? Oh sorry

DL: I could see Tom doing this after a couple of beers.

DP: You wouldn’t though cause you were drinking sir! We’ll have the camera ready for that. So this is low level and this is done at 160 beats per minute and then we got another here and this guy number two. He’s been to a couple of clubs, he knows what he wants to do so he’s going come out steps on the floor and is just gone. I think this is the one we stuck on the pirate outfit. The heavy pirate outfit that was rotating around

DL: Yeah the back of the Taylor Swift thing we did.

DP: Yeah the Taylor Swift thing.

DL: I got to cut that together.

DP: [laughs] that was awesome. Then he just keeps going with this. There’s a lot of variety here so if we go through we can probably chop a lot of this up and get probably maybe four or five idles out of it, but my favourite… Alright and the third one which is probably my favourite one which is this one. Back story on this one when I was in college there was this club I used to go to it had all you know, you had a lot of locals and you also had military personnel and there was one night when there’s like twenty thirty armoured guys and they were like, they got one drunk and he was like: “I’m going go and do it and do it on the floor”. And he’s like: “Go on out there man, go do it! Yeaah!”

Walks out there and he just starts going right into like the mosh, and as soon as he starts bouncing I was like okay tread back cause he’s drunk you know anyway, I would love to see like some marines come out and just do this. This guy’s like doing the fist pump and he’s like “Wait a minute I got a little more in my repatour[sic] hold on. Double time! I can do this all day” *laughs* Anyway he just keeps, yeah it’s awesome, cause he just kept going and going and going.

DL: Alright

DP: Stop me!

DL: See now you’ve this, this was somebody you met in a bar.

DP: No this is just another guy. I did a lot of club dance, a lot or professional dance when I was younger this is one of the things I remember is this dude going out there.

DL: So be careful when you’re dancing in clubs you never know who’s there watching you. You could end up in a video game

DP: Yeah. [laughs] You’ve been warned!

DL: Alright David I think that’s it for us. Thanks a lot for taking us on a real brief look at character animations

DP: Yeah anytime

DL: Thanks a lot!

DP: Thanks man

DL: Back to you guys.

MVP

SG: And now it’s time for this week’s MVP, Ben the envelope please.

BL: That would be a thing I could give you

SG: This week’s MVP is… MYRE, that is so nicely written, who created a short video detailing new localized physics grids in Star Citizen alpha 2.0.

BL: And physics grids are one of the great new innovations that the folks in Germany have introduced into Star Citizen 2.0. We know there is a lot more going on under the hood that you want to hear about and you can go back and listen to old 10 for the Chairman’s, listen to Chris talk about 64 bit conversion and physics and all sorts of things that I don’t understand but our fans do it better so check out his video.

SG: And finally, here is your art sneak peek.

40:00 Art Sneak Peek

40:25 Outro

[EMP Testing (Work-in-Progress)]

BL: Wow that was quite a whatever that was! There is no Reverse the Verse tomorrow because of the Thanksgiving holiday in the US. We’ll all be full of turkey and we hope the same for everyone out there. Happy Thanksgivings to Americans and everybody because, hey, why not have a good day!

SG: And of course thank you to all of our Subscribers for making this show possible. We will see you next week on Around the Verse.

BL: Around the Verse! Around, around the verse …