And this is Levski, right?

Yeah, this is Levski. It was the best way to communicate the scale of the thing, as the diameter of the hole, I think, is five kilometers, and the length of this ship is 150 meters, so it gives a better idea of what you could see and where, when this will come out.

We thought that was such a big hole when we built it. And then we put an Odin in there and it's like, oh.

It is still a big hole. Odin's just a very big ship. I think, to build on what you said about the key art and how it's almost a love letter in some ways to all the insane work that we've seen: from an artist's perspective, the team's grown so much over the last few years, and it's these pieces of concept key art that appear on Google Images, on the YouTube videos where the backers are talking about how excited they are, and even internally, when you're about to start the project and you get presented with 'this is the ship you're going to be making', and you know that's going to be your world for five months, or whatever. It could be months, and in the large ships' cases, even longer. Those moments are what motivates you as a game developer. When you go into that first call with Ben and John and they're like, okay, here's the kickoff for this, this is what it's all about, and you see the pictures and you're like, yeah, we're going to make that. It's so exciting.

It's about setting the vision. So obviously the concept doesn't cover every single area, but it gives everyone an idea of what the vision is for this vehicle. So when you're making that decision about what do we do with this space, what do we do with this bulkhead, we know what the intention was. So sure, they may not be realistic about everything that will happen in our engine, but it gets across the vision and the narrative of what we want the vehicle's identity to be.