Flying the TBM Kronos in Second Life

Flying the TBM Kronos over Isla Pey

Every time I promise myself, “no more planes!”, something happens to change my mind. Most recently, I’ve been throwing the CLSA Stampe SV.4 around the sky a lot of late (you can read a review of this ‘plane – now costing L$15 – here). This, plus a couple of suggestions led me to try – and buy – the TBM  Kronos V6.

Resembling the Pitt Special S1 / S2, the Kronos is a partial mesh build weighing-in at a default 51 LI, with a display cost of just under 42K and a quite enviable physics cost of 1.5. All of which makes for a very nibble aeroplane with some of the best close-to-real handling I’ve experienced in Second Life – not that I’m necessarily an expert in such things.

The Kronos variants: the full-size version (centre rear); version for smaller avatars (l); version for Tinies (right) and the Petite version (centre front)

A single-seater the Kronos eschews any menu system, and instead offers all commands and options directly through chat or a simple HUD. By default the latter attaches to the top right of the screen, and is nicely shaped to fit the corner without taking up too much space. The controls provided comprise an airspeed indicator, compass, altimeter, and four pre-set camera options.

This is a plane that packs in a lot in many respects. Delivered in a neat suitcase, which opens to reveal a (non-functioning) radio controlled model, together with control handset and a little fuel supply, the ‘plane unpacks to revels not one, but five models. These are: the Default sized ‘plane (51 LI), a slightly smaller version for smaller avatars (43 LI, together with a 0.9 physics cost), a version for Tinies (35 LI), a really dinky version for Petites (32 LI). Also supplied is a non-flying static model. Also supplied is an engine test stand and engine, documentation (basic but sufficient) and a poster.

Inverted climb over Blake Sea

The plane itself is a good-looking little machine, by default presented in an eye-catching and logo-emblazoned finish suitable for the aerobatics / airshow circuit, although perhaps a little too loud for my taste with all the flame motifs.  The engine hood is presented semi-transparent, and the design of the ‘plane can make getting to it a little difficult if you’d prefer it to be opaque, as I did.

Flight controls are the usual for an aircraft: WASD / arrow keys for elevators / rudder and ailerons; E and C / PAGE keys for throttle. For those not used to such a responsive aircraft, remember use of the SHIFT key with the LEFT / RIGHT keys will allow rudder-only turns (unless in Mouselook). Lights are absent the ‘plane, but as it is intended for aerobatics, white smoke can be toggled by typing “i” once the engine is started.   Throttle-wise, 5%-10% provides suitable ground movement speed, and when steering, the plane is both responsive and positive – one of the best ground-handlers I’ve been in.

A low pass over Isla Pey

As a STOL plane, the Kronos will lift-off at anything over 35% of throttle once the airspeed is high enough, and it’ll place itself in “landing mode” with a fairly fast rate of descent at 25% throttle. 30-40% throttle is ideal for cruising, and anything above 45% suitable for aerobatics.

In terms of the latter, the Kronos is a delight, although those used to flying more sedentary ‘planes many find it an initial handful. Light and responsive, it will loop and roll t a touch, and with a little practice it is possible to throw this ‘plane around quite and lot and keep it inside the boundaries of a single region.

The plane is nippy enough in “standard” mode. However, it has two further modes: H for “hardcore” and HH for “hyper hardcore.” I confess, I didn’t feel a lot of difference between H and HH, but the Kronos did respond faster in “hardcore” mode.

The smoke system in action – be sure to have your viewer’s particle system turned up

A template is provided for painting, and there are also some commercial kits available. Custom work can be a little bit of a pain when applying manually: there are a number of transparent elements overlaying some of the ‘plane’s surfaces (notably the engine cover and the wing surfaces), so a little care and patience is required, but nothing that is particularly taxing. For my part, I opted to use the supplied paint scheme as a base – largely due to the presence of the tigers on the tailplane 🙂 .

Good-looking, manoeuvrable, fun-to-fly, the Kronos is a great little single-seater by Rafaell Sorbet and Tania Bouvier, with a nice little HUD by Bunnys Fride. At L$ 1,799, it’s a recommended buy – but if you’re new to flying in SL, try the demo at TBM’s in-world airfield first.

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Getting off-road in Second Life

The [aR] Wild Goose by Arton Rotaru (left, shown in its default finish) and the Piaggio Systems Trackie by Ape Piaggio (right) – off-road fun
From time-to-time I receive gifts and / or find little treats that are fun to use in Second Life. Not everything gets blogged, for a variety of reasons – including the fact that even if I have an idea for blogging, I sometimes forget.

Such is the case with a couple of unusual off-road vehicles that came my way – quite a while ago now, if I’m honest; after an initial play with them, each ended up being put away, their original packages only coming back to my attention whilst I was going through one of my regular inventory sort-outs recently. Neither is particularly me, but before they vanished within a box of “packaged” items, I thought I’d finally write them up, should anyone be interested.

First up is the [aR] Wild Goose by Arton Rotaru. This is a single-seat tracked vehicle that is – going by the seat alone – designed for those who like their off-roading in comfort. Protected by a roll cage (handy, as it can roll onto its nose when cresting ridges with steep drops on the far side), the Wild Goose sits on a pair of broad tracks driven by two high-positioned drive wheels that help give the vehicle its distinctive looks.

Ready to go in the Wild Goose

With the engine started as soon as you sit, the Wild Goose is ready to go. Most options are available via the vehicle’s menu when seated, although the important options (light, horn, cruise control, and menu access) are also available from the optional HUD, which also includes a large speedometer and also a useful rez zone locator: pop the HUD on and when Rez Zone is clicked, it will indicate any local rez zones in chat, complete with Map SLurls. Also, for those who prefer keyboard commands, a number of command options can be accessed via function keys.

Handling-wise – and while I am no off-road expert, the Wild Goose is fun. The UP / DOWN (W,S) arrow keys provide forwards / backwards movement (and throttle, effectively), as one might expect, the LEFT RIGHT (A,D) keys handle turning. PAGE UP / PAGE DOWN (E, C) set the Goose’s cruise speeds (10 speeds): tap PAGE UP for a higher setting, PAGE DOWN for a lower setting. Whatever is set is the speed at which the Wild Goose will cruise at from initial start or accelerate to if moving.

Up hill and down: the Wild Goose will go pretty much anywhere, terrain-wise

An unusual aspect of the Wild Goose is that it is both amphibious and (this being SL) it can fly, with either option available from the menu. Should you end up flipping it over, it also has a menu / HUD button (Recover) button for righting it. The menu also has a comprehensive set of options for resizing the Wild Goose to better suit your avatar’s size, together with a choice of male and female sit animations for better apparent grip on the two hand controllers, and a set of built-in texture options. A final set of options allows the vehicle’s handling characteristics to be adjusted to match / contend with terrain you’re driving over.

The Piaggio Systems Trackie, by Ape Piaggio is a smaller and – dare I say – far more raw vehicle, albeit one capable of carrying a (very brave) passenger! The “rawness” of the design is deliberate: Ape wanted a vehicle that looked like it had been cobbled together out of spare parts – and the look certainly works.   Like the Wild Goose, the Trackie is a tracked vehicle (hence the name!), and utilises what might be regarded as a more conventional caterpillar-style track arrangement.

Both driver and front passenger are fully exposed: no role cage or seat belts, the driver sitting directly over the exposed engine, the passenger almost the front fender. Adjustment when seated is minimal – the driver’s foot pedals can be raised / lowered. The Trackie’s HUD is a reflection of the interactive “dashboard” mounted to the driver’s left. Both can be used to start / stop the vehicle when in manual mode (complete with use of the ignition key), and to set the front of the Trackie with a couple of foot rests for passengers or turn the headlights on / off.


The Trackie, with menu and HUD that duplicates the interactive dashboard

Driving-wise, the Trackie uses the LEFT and RIGHT  arrow keys (A,D) for turning and UP / DOWN (W,S) for motion / Braking. The Two PAGE keys act as a conventional gear shift. Note that if you need to reverse, you’ll have to step down through the gears (PAGE DOWN) to engage reverse but use the UP (W) key to drive in reverse, as it is a conventional road vehicle accelerator.

The Trackie’s ability to negotiate climbs is also far more linked to throttle use than is perhaps the case with the Wild Goose, although like the latter, it had a handy Flip function on the menu should you end up overturning it. For those not wanting to both with the manual start-up sequence, the Trackie can be set to Auto Start mode – the engine will fire-up when you sit on the vehicle.

The Trackie handles terrain pretty much as well as the Wild Goose, although more care with gear shifts is required

I confess that neither vehicle is really “me”; I say this simply because I’m not that into road vehicles in SL per se, not as any critique of either. Certainly, of you’re fond of off-road vehicles and don’t have either of these two, they could be fun.

Which you may prefer comes down to wants and needs. The Wild Goose is the more polished in terms of looks and options of the two – and the broader range of options is reflected in the price tag: $1,699 at the time of writing. The Trackie is very much more suited to those seeking a more “home built” look. It weighs-in at just over L$1,000 less than the Wild Goose at the time of writing. If you’re looking for a vehicle you can rez and share with friends, both vehicles come with a set of driver permissions (owner, group or everybody), so it’s easy to offer friends the chance to drive around with you. However, if you want to carry a passenger, the Trackie has that spare seat.

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The CLSA Stampe SV4 in Second Life

The CLSA Stampe SV.4: making a low pass over the island home

Over the course of just over a year, I’ve written a couple of pieces about the aircraft available under the CLS Aviation, brand, owned by CaithLynnSayes. These have included the P92 and P2010 (read here for more) and the CLSA Fairey Gannet (read here for more), and both articles came after my initial introduction to CLS a aircraft via the freebie Firestorm Ryan Navion, also supplied by Caith (read here for more). My responses to these aircraft have been mixed – but given they are provided (albeit as unsupported items) at just L$10 per ‘plane, they cannot be faulted as means to get started with flying in SL.

Hence why I was drawn back to try another aircraft in the CLSA range: the Stampe SV.4. Originally a Belgian-made 2-seat tandem trainer that was first flew in 1933, it didn’t come into its own until after the Second World War, when it served as both a basic trainer for the Belgian Air Force (1947-1975) and was built under license in France and Algeria, becoming a popular civilian light aircraft / trainer in the process.

The CLSA Stampe SV.4 is a fun plane to fly

It’s not clear which variant of the Stampe the CLSA model is based on, but its natty performance envelope allows it to potentially be any version you like, and from my perspective it is one of the most fun aircraft I’ve flown in Second Life.

As is usual with CLSA aircraft, the model is a very accurate reproduction of its physical world namesake, including the more rounded vertical tail and rudder and lack of the distinctive “hump” of a fuel tank in the centre of the upper wing to help differentiate it from the British de Havilland DH82 Tiger Moth (which I’ve had the pleasure of flying in, and taking the controls of in the physical world!).

The ‘plane is delivered in the distinctive large crate of CLSA, which drops to the ground with an audible “whomp!” when rezzed. As well as containing the aircraft, the package also provides the default CLSA aircraft HUD, (not vital for flying the ‘plane), a radio headset / microphone combination, a Quick Start manual (a detailed manual can be obtained from the Help option in the aircraft’s menu – touch the aircraft to display this, or say “help” in chat when seated in the Stampe), and “templates” for painting. It would have been nice to have the headset supplied Copy / Transfer, to allow for sharing with any passenger carried in the forward cockpit, but never mind.

“Switches on! … Clear! … Contact!” – readying for take-off in the CLSA Stampe SV.4

Of the CLSA ‘planes I’ve flown, the Stampe is definitely the most fun. The basic controls are as one would expect: PAGE keys for throttle; Left and Right keys for banking; Down / Up for pitching the nose up or down. Additional controls – parking, brake, camera options, engine, etc., can be accessed via chat commands and / or via the  HUD.

The low speed of this aircraft means that it really is good for STOL activities: leave the brake on and run up the throttle before releasing, and you’ll be off the ground in a very short run. Conversely, keep your approach speed to around 30 km/h (19 mph or 8 metre per second) and you can drop the Stampe into almost any suitable area on the ground (including places you might not get out of again!). This STOL capability could make the Stampe ideal for GTFO! activities as a light courier, but as the GTFO! vehicle database is unavailable at the time of writing, I was unable to ascertain if it had been added or not.

That same low speed makes aerobatics a joy – I was stall-turning and looping to my heart’s content – and these can be further added to through optional elements such as the Luna Fatale Animated Wing Walker. It also means you can instruct passengers in the forward cockpit at a more leisurely pace than might be the case with other aircraft  – just use the “cmd” command in chat to pass control forward or take it back.

Pulling a loop over the island home in the CLSA Stampe SV.4

When it comes to aerobatics and flying, the Stampe includes a set of options to adjust its flight handling: pitch and roll rates, rate of climb, and throttle. these can be adjusted in  real-time when flying, and also output to chat for recording onto note cards which can be added to the ‘plane’s inventory. This means that if the Stampe is permanently rezzed as a shared plane within a group, pilots can load their personal flight preferences, thus allowing more experiences flyers to use more aggressive settings, while those with less experience can opt to use their own or say with the plane’s default characteristics.

A big plus (for me at least) is that unlike the Ryan, P92 and P2010, the Stampe *won’t* regard Linden water as land and happily taxi around on it or land on / take off from the surface.  Were I to critique the plane at all, it would be that banking – although far better than the Ryan, P92 and P2010 – can still be flat at times in the default handling mode (so use of the custom handling options might be called for).

I also feel the supplied exterior painting template leaves much to be desired. Some of the component parts are poorly rendered and indistinct, requiring a certain degree of skill when setting a personal colour scheme. A scripted painting mechanism is provided, which includes two custom finish slots, together with 6 supplied finishes. However, as the ‘plane is supplied with Modify permissions, it is possible to manually apply paint schemes, so multiple personal finishes can be used, if wanted.

Three of a kind: three of the supplied finishes for the CLSA Stampe SV.4

Overall, give this ‘plane costs just L$10, it’s a nice add to any collection and is, as noted a lot of fun to fly, and which tends to handle region crossings pretty well (allowing for speed and how you might tweak the speed settings).

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A Second Life Roadrunner

Riding the SG33E Roadrunner

Ape Piaggio has crafted some of Second Life’s more unusual vehicles, be they for land, air, or water (or even some combination thereof). and by “unusual”, I mean fun.

I’ve covered many of them in these pages, and am admittedly a confirmed fan of her work. Most recently, I’ve been involved in the development of her LS33W AirFish (read here for more). That project has been taking a little longer than anticipated, but there’s a good reason for this: Ape has been busy with a fun vehicle that’s she launched at the end of November: the SG33E Roadrunner.

This is a fun little 2-wheeler for running around on – particularly along the road networks of the Mainland, where I spent time testing it. Probably the best way to describe it is a marriage between an electric motor and a traditional push scooter that’s been given a few steroids to beef it up.

From boxed to “assembled”: the SG33E Roadrunner (note the black marks on the optional rezzed fenders are baked shadows for when the optional parcel racks are used)

Delivered in a neat packing case – itself a trademark of Ape’s products (and which will deliver a texture pack as well, when unpacked), the Roadrunner rezzes in its stowed mode – handlebars folded against the footboard, awaiting attention. Select Sit Here from the right-click context menu / the pie menu, and a neat animation will play, causing your avatar to kneel and unlock the handlebar before raising it to its upright position, and then “stepping” aboard the scooter.

At the same time the handlebars are unstowed, a Quick Start guide is displayed in local chat (user only – not general spam) listing the basic driving controls. Using the Touch option will list the Roadrunner’s menu, including the permissions options (who can drive / ride on the scooter); the adjustment options for correctly positioning avatars (the scooter can be resized); access to the couples poses (cuddles plus a couple of adult poses), and the scooter’s accessories options – of which more anon.

Readying the Roadrunner for riding

The basic controls are easy enough to master, and the simple fact is, with a little consideration for SL’s eccentricities, the Roadrunner is a great little ride – and be sure to check out the cute “reversing” animation.

The Accessories option adds to the Roadrunner, allowing a degree of customisation. This includes recolouring, plus the rezzing of the front and rear well fenders and / or the front and rear luggage racks. The racks also include headlights and tail-lights for night driving.

The accessories menu

Also included in the Accessories menu are the battery / recharge options. The former allows the Roadrunner to behave like a real electric vehicle: running only as long as there is sufficient charge in the battery. When it has expired, or is close to expiring, the recharge option can be used. This will display the solar-powered battery charger which, as it is attached to the scooter, doesn’t require rezzing rights in order to appear.

The Roadrunner is additionally capable of carrying passengers. Providing the driver is already on-board and permissions are set, a passenger can right-click and sit on the scooter – this will display the rear luggage rack, which is used as a passenger seat.

At L$350, the SG33E Roadrunner isn’t going to break the bank, and it weighs-in at just 6 LI. Those those who enjoy road vehicles, it offers a fun and unique means of both travel and exploration around the Mainland.

Riding Route 12 on the Mainland

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The Culprit Sonata Bento piano in Second Life

 

The Culprit Sonata upright (l) with my Lisp grand (r) at our home in SL

It’s no secret I play the piano; I’ve mentioned it a fair few times; I can sometimes be heard playing arrangements on my You Tube videos, and I’ve reviewed the various pianos I’ve had in SL through these pages.

By-and-large, I prefer to go for grand (concert or baby) pianos in SL, simply because a) the comparative sizes of houses in SL tend to mean a grand can be installed easily and not lost against a wall; b) I have a Yamaha N1 in the physical world, that nicely reproduces the sound of a grand (but only takes up as much space as an upright!), so I’m naturally more accustomed to the more rounded sound of a grand, and heaving on in SL puts me in mind of that roundedness.

Thus, finding me writing about an upright piano now might seem a little strange. But the upright in question is a little special: it is the first playable Bento piano I’ve been introduced to.

The keyboard is finished with a very natural looking ageing to the keys

The piano in question is the Culprit Sonata, created by Eku Zhong and Yure4u Sosa – and it is a delight.  Two versions of the piano are offered in the pack: “large” (for larger sized human avatars) and “small” (for more “normally” proportioned human avatars (the “small” should not be seen as indicative of the piano being suitable for Tinies). I found the “small” variant ideal for my avatar.

The design follows the standard upright piano look, while the menu system (active once seated) offers four main option sets: Texture, Muted, and Songs, together with an [Adjust] option for setting your seating position at the keyboard.

  • Texture provides a choice of eight Themes by which to  texture / colour the entire piano and its stool; and a Custom option, allowing you to mix and match the textures used on different parts of the piano to suit your individual taste.
  • Muted presents a total of eight different playing styles without any associated music – so you can set a style in keeping with the music you’re listening to out world, or on your parcel stream. As one of the streams we have on the home parcel is a pure piano stream, I found this option a nice touch.
  • Songs, as might be expected, offers a total of 32 pieces to play, all public domain, and offering a good cross-reference of music.
Three of the menu-driven Theme finishes to the piano, and one variant of a Custom finish (l)

Sitting at the piano immediately puts you in the “idle” pose (also available from the Muted menu as a ninth option). This has you sitting and moving your arms as if conducting – or perhaps warming-up in readiness to play :).

Selecting a piece of music from the Songs menu will display sheet music on the piano and move your avatar into a matching playing animation. It is here where the Bento element comes in. If you have Bento hands,  turn off any animation option you may be using with them so as to avoid possible conflict with the piano, then watch yourself play.

The Culprit Sonata was, at the time this review was written, on display outdoors at the Culprit store

Rather than the traditional single pose hand movements we’re all familiar with when playing SL pianos, the Culprit Sonata will animate fingers and wrists to reproduce a range of playing styles, from the subtle to the quite effusive. Most fit the included music extremely well, and I found a couple of the Muted animations options particularly well suited to “playing along” with some of my favourite tracks on the Westworld TV series soundtrack (such as Sweetwater, No Surprises, Dr. Ford, and The Forest) that was playing on the stereo as I took the Culprit for a test drive – or test play, if you prefer 🙂 .

The finger and hand movements are fluid throughout – and I was impressed to see a thumb-led descending glissando in one of the animations; I don’t think I’ve ever seen that in a Second Life piano animation before, and you can catch it in the video below. Yure4u, Eku’s SL partner, modelled the animations on her own playing style, adding further depth to them, and while I did find a couple a little more dramatic than my own style of playing, they in no way put me off.

Bento hand movements in three of the playing styles built into the Culprit Sonata piano

At 7 LI, including the stool, the Culprit Sonata isn’t going to break the land impact bank, and the texture options offer sufficient variety in finish for the piano to fit almost any environment. Pricing-wise, it is placed at L$995, which perhaps puts it at the upper range of playable piano (I’m excluding those that come as Adult rated or with a host of non-playing animations). However, when you consider this is a Bento piano, offering some very fine finger / hand / wrist motions, and the effort put into producing these, the price doesn’t feel excessive.

The Sonata has some nice attention to detail around the keyboard and the brass fittings, and while I’m still naturally biased towards having a grand piano in SL (and Eku and Yure4u are apparently working on one), the upright version is now gracing the saloon at Caitinara Bar 🙂 .

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An inside look at Get the Freight Out in Second Life

Note: due to transitional issues, a temporary GTFO forum has been set-up for users. This currently supersedes the web addresses in this article.

Get the Freight Out (GTFO) is a popular in-world game among many vehicle users. HUD-based, it allows players to “haul” cargo from by land, sea or air, point-to-point across the mainland continents of Second life, and over their connected waterways and seas (e.g. Blake Sea). In doing so, players can earn in-game (and non-redeemable) “Goal dollars” – G$ and game experience points which allow them to “level up” through GTFO.

Since its launch, the game has grown to encompass, at the time of writing, over 280 different land, sea and air vehicles, and has over 300 “hubs”- the points at which players use to collect / deliver their cargoes – scattered around the Mainland continents of the grid, presenting players with multiple opportunities for collecting and delivering cargoes, with more being added all the time.

In fact, such is the popularity of the game that many vehicle creators are offering suitable vehicles with GTFO support out-of-the-box; no need to convert them for game use, all that’s needed is the game HUD. There’s even a “trial” HUD available for a refundable L$1 for those wishing to try the game; this offers all the features of the “full” HUD, but is limited in how far a player can level-up. All experience points and Goal Dollars earned while using it remain valid should the player go on to purchase the “full” game HUD (L$699).

Originally created and run by Rez Gray, the game changed hands early in 2018, when Rez and Cinn Bouchard (cinnamonmousse) reached an agreement for him to sell her GTFO, including the core assets of the system – the databases, LSL and PHP coding –  together with the in-world assets such as the game HUD, GTFO dock system, groups, etc, together with the rights to expand the game in certain directions. Since then Cinn and her in-world business partner,  Syler Avon (Jaiden Nexen), have been working with a small supportive group of people for the last several months to overhaul GTFO without changing any of the established game mechanics.

That work is about to come to fruition, and I recently had the opportunity to sit down with Cinn and Syler at the new GTFO in-world headquarters to discuss all that’s been going on since the purchase of the game, and what players and those interested in GTFO can expect to see in the very near future. However, we started the discussion on how they came to be involved in GTFO in the first place, with Cinn providing the background.

We found out about GTFO accidentally after I introduced Syler to sailing in SL. In mid-2017, we got some coastal mainland just off Blake Sea and built a house with a marina with room for all our boats, and we started noticing people arriving in the marina and then leaving, and I got a little nervous about what was going on. So Syler went to ask some of them what was going on, and they said they were loading and offloading cargo for the game, and that’s how we first heard about it.

– Cinn Bouchard on how she and Syler Avon became involved in GTFO

GTFO allows vehicles and vessels and aircraft of all periods and types to haul freight by land, sea and air

Curiosities piqued, Cinn and Syler sought out Rez Gray to find out more. At the time, Rez was – as Cinn put it – “up to his eyeballs” in trying to run and expand GTFO and handle other projects. As a result, they threw themselves in trying to help him with moving things forward. In particular, Cinn, using her background in programming, web design, and coding, became very heavily involved in the game’s back-end support: working on the database alongside Rez, learning how things worked, adding hub locations and vehicles to the games, etc. Syler, went out and placed dock systems, talked to new hub providers, and in group chat, finding out what people were interested in seeing with the system, and growing the sense of community among players.

Over time, Cinn and Syler built a small team of helpers, which they informally called the GTFO Ops Team, who gradually took on more of the general running of the game. A major contributor to the team was Keif Denimore, who overhauled the processes for adding new GTFO hubs and new vehicle APIs (used to identify vehicles and their freight capabilities) to the system. Eventually, with Rez keen to pursue other projects, the arrangement was reached that allowed the game to be transferred to Cinn’s ownership.

Syler and Cinn have been developing a new in-world HQ for GTFO, where people can find out more about the game, the GTFO community, obtain the game HUD, and more

Since taking the game on, the team has been focused on three areas: providing a more robust and capable back-end to the game, complete with a new website; to prepare the way for adding new in-game activities such as smuggling, and adding support for space vehicles; and to expand GTFO’s in-world presence and establish new partnerships. In addition, and as a related project, the GTFO team have been working to expand a more defined sense of community among GTFO players, and present opportunities for informal role-play alongside of the game.

One of the things we decided in taking on GTFO was to keep the game play going as it had been. We didn’t want to cause any major disruptions to people’s enjoyment, so we’ve had a slow transition over to new back-end infrastructure that will allow us to both run the game as people expect it, and expand it a lot more.

– Cinn Bouchard on some of the core decisions made in taking over GTFO

Critical to the initial transition was Ven (VenKellie), as Cinn noted. “His expertise with servers has been invaluable, and helped us move forward in ways I’d only hoped to one day achieve. We’re now developing everything on a cloud-based infrastructure, and we’ve completely overhauled the game on the back-end.” One of the major outcomes of this is a general move away from HUD-centric LSL processing, in favour of back-end processing.

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