So while the storyline's linear, moment-to-moment gameplay is anything but dictatorial. Ronald D Moore's Battlestar Galactica is namechecked before Erin describes 1km long battlecruisers with explorable interiors, and how ships are modelled down to the latrines and manufacturer's marks on the rivets. It seems one such capital ship will serve as a hub and home for a time, with you at liberty to wander its cafeterias and halls between spells in the cockpit.
The idea is to give a sense of a living place, so the people on board are just as important as the immaculately rendered bulwarks. Crews will assemble in the canteen at lunch, then scuttle off to service hangar craft, and key NPCs will catch your eye if they want a quick chat. Dialogue option lists are out, a body language and reputation system in their place. Stay and listen to a garrulous wingman's tall tales in a bar and he might form a closer bond with you that means more help out among the stars; get him going and dash off mid-sentence and he might give you the cold shoulder instead.
"I mean, it's crazy," says Chris, "because the Wing Commander format was that you fly your mission in space, shoot a bunch of stuff up, and then you come back onto the ship, you have some conversations and the story advances, and you basically rinse and repeat that. This is not like that. It's completely fluid. You can be going around your ship, having conversations, and suddenly there's an attack. Vanduul have boarded and you've got to run to the armoury to get your weapons to go fend them off, and then fight your way to the flight deck. And then you get in your ship and take it out, and chase after the Vanduul and destroy them."
This, Erin explains, is the direct benefit of all that overfunding. "It allows us to really push a bunch of stuff we weren't planning to do originally. If it just stayed very small at the beginning, then [Squadron 42] would have very much been just a smaller, much more focused space thing. The sort of way Elite: Dangerous is going about things, I guess." That's not to disparage David Braben's own return to the genre – Chris is a backer, as are many of the Manchester team – but Star Citizen has the funds to expand its focus.
"One of the big locations in the game is a huge mining base," Erin tells us, "and it's like 6km, well, 'big'. It's huge. It's got 26 landing platforms on it which can fit large ships – I mean, like big old transports and things like that – and each of these locations are places you can go."
It's not simply physical scale, either. Across the hour we spend with Erin, he touches tantalisingly on the topics of dropships to fly, popping out in your EVA suit to perform mid-mission spacewalks to get around problems, and calling for air support from inside a location.
All too much?
It sounds like mad overpromising until you consider that PAX Australia gave the world its first glimpse of Star Citizen's considered, tactical gunplay before capping it off with a less constrained zero-g shootout, soldiers and pirates locked in an aerial ballet as they pushed off from walls and dodged floating crates. Perhaps most attractively of all, because many of Squadron 42's systems have hooks in the persistent universe, they have been built to work in dynamic, unscripted environments, not just for set-pieces. A linear tale may deploy them that way, but Erin stresses the primacy of choice.
Yet the power to choose may mean you never experience his work: in the final release, the entire Squadron 42 campaign will be optional. Still, according to Erin, you can opt out more dramatically than clicking 'no thanks' after character creation. "We're going to give you the ability to pretty much mutiny. So you may decide you're going to be an evil pirate, and you go and shoot your captain in the back of the head and make an escape... Obviously that puts an end to the campaign for you."
These choice-based systems are set to reach maturation in the persistent universe, which blends a game-shaping economy simulation with a massively multiplayer sandbox universe. Yet as you explore its 110 star systems, and around 400 planned landing locations, you should notice them free of tired old MMOG design.
"I kind of feel like in a lot of online games, especially as you get to the higher levels, you get forced into a social dynamic," says Chris. "OK, I'm 80th level in World Of Warcraft and I've got to be in my raid group... We don't have levels in Star Citizen. I don't want that. The goal of the game is there shouldn't be any win, right? Because it's like in the real world: what's your definition of a win?"
Your interpretation could mean seeking out dogfights until you carve out a legend as a combat ace, but it could equally mean starting up a junking and salvage business to make a few credits. Chris wants every path to involve skill, with mining, for instance, more a case of identifying mineral seams and extracting them, rather than floating near a rock and holding the spacebar.
Nuts and bolts
So how will it all work? On a technical level, the universe itself is designed to cater to hundreds of thousands of players – and millions more NPCs, the ratio being one human to nine AI characters – but a game server can only contain 50 to 100 craft at this level of graphical fidelity.
Instead of dealing with this via shards, space will be dynamically instanced, those instances stacking on top of each other as the player count in an area rises. Smartly, however, whenever you drop out of warp, an algorithm will be making decisions about who to stick you with based on your in-game affiliations and reputation, and your personal preferences. Express an interest in PvP and you're likely to be matched with humans. Eschew social contact and pirates in your instance will more likely be AI bots. In this way, Star Citizen invisibly tailors itself to you as much as your actions alter it.
And alter it you will, entangled as you are in the web that is the economy simulation, which acts to imbue the universe with consequence and create a steady flow of missions. Chris provides the example of a factory in need of raw goods.
To start with, it will post a mission to the job board that's for simple haulage. Players get first dibs, but an NPC trucker will step in as time passes. If the sector's lawless enough to attract pirates, the factory may soon be cut off and, as the bottom line is affected, the factory's owner may then seek to hire mercenaries to protect their shipments. If that doesn't work, then you could be looking at a bounty to bring back the troublesome pirate lord's scalp. But fail to reverse the factory's fortunes and the workers will start to be laid off, crime rises and the area deteriorates visually, a wear-and-tear system responding to local affluence.
Planetside scenarios are said to evolve equally organically, with Chris's team of designers working on modular mission templates so that the universe will keep providing things to see and do long after its scripted content is exhausted. And it is here that the bamboozling scope finally begins to feel grounded. Cloud Imperium may be crafting every ship by hand, but it isn't trying to build a universe this densely packed via raw manpower alone.
But such an emphasis on a bespoke, hand- shaped approach has introduced limits. "It's not necessarily as big as a procedural game like Elite or No Man's Sky that's doing a lot more procedural stuff, because there's a slightly different focus," says Chris. "We're focused on a more crafted, detailed- oriented approach. Even in what I'm describing, there's still procedural stuff that goes on in building elements of the cities, just because they're so big and we're doing them in such high fidelity. Like, for instance, if you're in a big city, the background city blocks and everything is all much more procedural versus an artist placing down each single building."
Feeling the reheat?
With all these promises to keep, is Chris feeling the pressure of his literally invested fanbase? Well, no. "The toughest person is myself on myself. The person that would be most annoyed if I didn't do what I have this vision in my head for is myself. When I really see a game through, I have this picture in my mind and I'm really obsessed about getting to this point. The original Wing Commander was that way, and that's where I'm at on this. I'm stubborn."
What Chris asks of his fans now is the same stubbornness: to bear with him while he, Erin and the team realise his grand vision, piece by piece. With so much riding on it – no more or less than the reputation of crowdfunding whales – Star Citizen can only either succeed spectacularly or fail disastrously.
No publisher would take this kind of risk, but a great number of PC enthusiasts have, perhaps seeking release from an industry driven by predictable cycles and modest yearly iterations. Whatever Star Citizen ends up being, it will shake the game industry, and that alone makes it worth further exploration.
