Music of the Month; Just Begun

Ah, summer. What a time to work. Time to let some of this steam out.

An issue with the current time schedule I have is that all the plans I usually do for the blog in advance will be made sometime next week, hopefully. This means what will be this month’s review will be set into stone at some later date (though the most likely candidate are the two Silver Hawks that came with Limited Run’s Dariusburst Chronicle Saviours‘ limited edition box due to them being essentially re-run of Shooting Game History’s mould,) what will be the mecha design post (though it will be about transforming mecha in order to continue the theme of the year) and I’m pretty sure I’m missing something that’s a monthly occurence. Ah, I’ve got no plans for the music. I need to pick something that would fit this season of heat.

I admit that the A-9 Intruder post from earlier this week was a bit hastily put together. However, I did see a need to take another take on the whole simpler transformation sequence. These are the building blocks after all, and when we understand the 101 basics, we should be able to move ourselves towards more robust designs. This on the other hand is a challenge, as I do see a need for examples that I’ve done myself and then use an existing example. The problem here of course is that in order to keep everything as simple in visuals, and that takes time I don’t really have. However, perhaps we could do a simple combiner next time, or discuss how Japanese media has distinctive different styles of combiners. Super Sentai to this day uses a very robust, very simple combiners due to the necessity of them being build as young children’s toys first and foremost, and thus tend to en up as being bricks with very limited articulation. This isn’t the case with Transformers, but there we see terrible body proportions every which way.

As for other âge related stuff, I’ll probably put up a smallish review on the decals that are being delivered to those who backed up the Muv-Luv Kickstarter. While the time between updates has become rather long, things are going towards the end. I agree with the notion some have made, that seeing updates on the quality of the translation in screencaps and going over what sort of translation issues the translation team have faced would be interesting. Hell, having a bigger post that is all about the translation and the inner workings how and why certain terms and approaches were selected would be beneficial for the sake of transparency towards the backers. That’s the crux; backers are funders of this project, and in the spirit of things, backers should have the right to see the inner workings of the project they’ve invested money into. However, I do acknowledge most people on either side of the fence don’t see it this way, and Japanese companies tend to want to keep tight wraps on what goes in the background. To tell the truth, I doubt most people would even want to know the shit that goes behind the scenes with these corporations. It’s nothing enjoyable and often ends up being massively disappointing and depressing.

There has been some visible extensions of deadlines, to which the translation is probably the culprit. However, as this is a business in the end, there is a need of balance between quality, time and expenses. You can have two, but then you’ll lack the third. Cheap and quick with no quality and so on. While most high-end consumers and core fans of any field tends to say that they’d rather give a company time to finish their piece to perfection, this is stupidly unfeasible. Because these are products that in the end need to make profit, even a Kickstarted piece like Muv-Luv, there is a requirement for a definitive deadline for the translation in which the translation and code has to be brought to a point that is can be pushed out. Anyone in their field could fine-tune something to death if they were given the time, but resources are limited. We’re facing our good old friend Mr. Good Enough again here. It’s not a perfect solution, but a worker needs to be aware of the wants of the customer as well as the needs of the company he is working for, self-gratification be damned.

The exact same goes for any field. For a welder, one could spend a whole day by doing one seam the best way possible with pre-heating the contact points, welding in smaller sections, occasionally grinding and re-welding bits that didn’t go quite as well and overall spending time and money that nobody has. It needs to be up to the given requirements but also needs to be done fast and efficiently. That takes years of training and experience, a rookie can’t do it. Welding is, after all, part chemistry, part physics and part handicraft. It takes loads of experience in actual work to achieve the level where the aforementioned three can be balanced with each other properly.

To let that steam out now, I recently had to pick a new pair of spectacles due to change in my sight. But ‘lo and behold, a rogue spark managed to sneak past my safety goggles and burned itself on the surface. Had to purchase new ones, but at the same time picked up a subscription safety glasses for future work. This in itself shouldn’t be of any interest for you, but if you wear glasses, you should be painfully aware of the amount of money you’ll end up spending. A decent pair of frames usually got for 100€ to few hundred, depending on how much you want to put into the design. The lenses themselves add another hundred to the whole deal, but for whatever reason safety glasses always seem to be around 75€. This is a bit mind-boggling. Modern safety glasses are just as designed as any daily use pieces. Part of what keeps their cost down is that they have a set of pre-determined materials that need to be used and required to cover a larger surface area in order to be safe.

This pretty much begs me to question the profit margin eyewear companies are pulling from your average citizen. Much like with any medical field, these companies are providing a necessity, but at the same time are expected to deliver both fashion and function. While it could be argued that it is unethical to take a higher price from a consumer who is required to wear glasses, we are talking about corporations that aim to make money. Just as any, they’re not your friend, but an entity to create goods for your consumption in exchange of your hard-earned cash. The same really goes for any corporation out there.

There’s a distinct lack of video games in this post, so I’ll try remedy that next time around.

Mecha design: Straightened up A-6

To continue the theme of transforming mecha in a simple form, I’ve decided to take this chance to introduce another simple transformation, but one that isn’t a box and does alter its appearance quite a lot between its two forms. Furthermore, rather than choosing something that flies through the air, I’ve decided to pick one that makes some sense in its setting as well as is water bound; the A-6 Intruder, or the Tactical Surface Attacker Type 81, Wadatsumi.

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The unsung hero

Unlike Boxtron from one of the previous entries, A-6 Intruder requires some explanation about its role in-universe in Muv-Luv Unlimited/ Alternative. In a world where air superiority is not an option before a specialised enemy unit has been cleared off from the battlefield, an off-shoot branch has specialised on long-range combat and against enemy strains that are less armoured and smaller, but number in tens of thousands. The A-6 Intruder is the amphibious equivalent of A-10, another TSA. Both of them require to work in tandem, with Tactical Surface Fighters for effective warfare if they’re present. Furthermore, the A-6 has specialised in landing operations. These guys are the workhorse of things, able to take loads of damage and dish out about twice as much, reflecting the real world craft’s resilience. Effectively, they’re walking fortresses rising from the water and taking control of the beach, so the main force can move in.

If you were expecting a design comparison between this and the real life A-6, I’m not intending to do one due to the TSA effectively having no elements to go through. Well, outside the intakes that the 120mm guns were modelled after. The only real connections are the intention and relative role. The real world Grumman A-6 Intruder was a carrier-based attack craft that was designed around long-range and low-level tactical strikes. An interesting juxtapose is that the real world craft had no guns or internal bombing bay, whereas the TSA has nothing but build-in weapons. All the ordinance was mounted externally, and ranged from simple generic bombs to possibility of Mark 43 nuclear bomb. Fun fact, the A-6 delivered the most ordinance during Vietnam War than any other craft, including the B-52.

The design reflects the intended function. While not exactly apparent from its land mode, the whole transformation is made simple as possible while having interesting shapes to go around. Nevertheless, it still has some notably intricate, smaller form changing in its legs.

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How the feet are pulled in during submersible mode is rather interesting for the reason that it’s slightly over-engineered. The question whether or not you’d want sharp double-heels when you’re landing on a beach, or walk anywhere on the sea bottom where its muddy as hell,  is a good one and probably the only individual detail that I can complain about. If you disagree, you go walk on the beach with stilettos. Don’t ask why I’ve done that.

The transformation has four main elements that change form. The head, the arms, the legs and the crotch piece. Just like some older Transformers, what A-6 essentially does it that is stretches itself out, with some twisting and turning here and there. This transformation scheme is dependent on water, as its submersible mode wouldn’t function on land. Maybe is space. Luckily, we do have step-by-step CGs from the Visual novels themselves.

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Here we see the submersible mode with its head extended from the main body. This seems to be the first step in the whole thing. Overall speaking, we do see that the A-6 is pretty nice overall, though you can see sections on the arms that have crevices. Nothing major going here yet.

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The second step is to extend the shoulder and hip joints beyond the main body. This is the first thing that leads to the rest of the breakdown, but to be completely honest, this and extending the head should one and the same step.

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Here we see the hands extending forwards. These scene where this particular transformation takes place happens during a battle against a Tactical Surface Fighter. Hence, the arms are coming to grab something in-front of it. In order for the 120mm cannons to face forwards (as in the top image), they are required to twist 180-degrees forwards. The main shoulder pieces that keep the arms and 120mm cannons connected to the main body are still flat.

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The last phase  is extending the crotch piece forwards, twisting the 120mm cannons forward while turning the shoulder pieces out and straightening the legs and feet. At this point the A-6 Intruder would be ready to land ashore.

This transformation sequence uses the exact same core idea as Boxtron. The initial shape is mostly dictated by its function as an amphibious weapons platform, which on the other hand does limit how the humanoid form stands up. Well, semi-humanoid, as the A-6 does away with most human proportions.

While the transformation is simple, the main difference with its initial starfish form and Boxtron is not the shape or the sequence, but that it contains third dimension. While Boxtron was strictly a two-dimensional, A-6 needs to rotate and extend sections in the third dimension in order to achieve complete form change. As mentioned, the scheme of designed to work under water and only under water and ultimately the whole design works around this. The thrust is kept to the same direction at all times and the only bit that would seem to have any control over direction is the crotch piece.

Nevertheless, the good old tuck-and-cover method is practised here as well with, well, everything really. The amphibious mode is streamlined in most parts and doesn’t exactly have any hard corners for the water or currents to drag on. The geometry is overall sound. Outside the feet, anything more complex would be redundant.

In-universe the A-6 Intruder isn’t exactly a showpiece, and its transformation gimmick does give it a higher cost, but it’s specialised role makes it shine. While we can debate whether or not the design itself is something to admire, the A-6 is nevertheless a good example of a purpose-designed form changing mecha.

Music of the Month; Roundabout

I had idea what music to use this month. I honestly did. Then I completely forgot what the song was supposed to be. Not even a single note in my head. That music was supposed to be theme for this month, and you guessed it, I forgot what the theme was supposed to be. Well, I better gather something together. Ah screw it, it’s Yes time.

So, the Mega Man 2017 is now 2018. I’m not going to retroactively change that in the previous posts, because that’s how the date was announced then. Now is now, and from now on I’ll be referring the sub-franchise as Mega Man 2018. Maybe it’s the main franchise, because it’s pretty much the only thing Mega Man has going for now. His design also went well with the whole transforming mecha thing we have this year. Y’know, weapon changing and all that. A bit of a stretch, but I needed a slight break from the whole thing due to the amount of hours I’ve been putting in the workshop. I should be sleeping buy in reality I’m typing this out for you.

As for this month’s design thing, I may discuss the design og A-6 Intruder from Muv-Luv Alternative. Why? Because it’s a shape changing mecha, of course. Now getting some of the linearts or general images is a bitch, so I’ll have to resort what I have. Which probably is most than what others have due to my own devices.

Speaking of âge related stuff, Evan from the official translation side of things has translated one of the crack-head funniest bit âge’s produced, True Lies. Check it on his webzone. True Lies is a story of aliens, humans and antennoids and all the truths and lies that surround their existence. There’s a lot of love in there, and a hero we all don’t want but probably will get in the end. It’s a good bit and will entertain a solid hour, even when it starts to drag towards the end. Melvina Maniax was also pushed out and there’s Kimi ga Nozomu Muv-Luv, a product that’s been coming out since forever. I guess good things are worth the wait, though personally I’ll have to wait for it myself a bit longer due to circumastances. Not that I have time to read anything currently, I still haven’t touched Schwarzesmarken properly.

As for reviews, this month will see release of new 8Bit Music Power Final, and because I love you marvelous bastards so much, I decided to go with the version that comes with an attachment that supposedly puts out higher quality music. Seeing their build quality got better with Kira Kira DX, I’m hoping that they’ll step up the quality once more with this one. I don’t expect any gameplay from them as this really is just a digital album released on a Famicom cartridge. If’ you’re a Touhou fan, you might want to pick it up as Zun has a piece in there. Not really sure what I should aim for the next review, but I guess I’ll find out later down the line this month. I’ll just need to dig up something a bit strange and game related, as that seems to be in-demand. Well, as in demand as anything can be relating to this blog.

I haven’t commented on game news recently much due to nothing too much of interest being out there. The Switch has sold over five million units, which is damn good number. Especially when you consider that we are not in holiday season. A console selling five million during Christmas or such season is nothing out of normal, but selling that well in March raises an eyebrow. The system launch library though is atrocious, but seems like it has found its spot in the niche. Now if the software would just keep rolling in.

That reminds that I should discuss the emphasize of game design over technological design now that it seems we’re in an era where each new generation doesn’t marvel with its leaps in technology. All consoles can output great graphics, but now it’s put to the design of the graphics and gameplay to make due. Graphics whoring is for PC side, after all. I don’t remember anyone going full gaga over a game in decades anymore due to its graphics, Crysis was the last one I remember having such an effect on people. Well, if you exclude Illusion’s titles, but I’m not here to talk about porn games. Not yet at least.

Perhaps discussing game collecting might be a topic worth visiting. That would be an anecdotal post, mostly form a personal point of view and as such I doubt that it would do well in grand scheme of things (though there isn’t one.) Perhaps something less serious for a change might be in place, though emphasizing on topics that get the most hits via search engines would be the logical things to do. As Spock noticed oh so many times, humans tend to be illogical beings.

Speaking of Star Trek, whenever we get to see stuff from Discovery in a more transparent way than just leaked shots, I’ll do a comment on the designs. I did so with Star Wars (and I’ve bitched about them quite a lot) and Trek will get the same treatment. However, the rumour mill has been saying that the behind-the-screen events have been pretty terrible and handled terribly. For example, despite the show being a prequel series to the original Star Trek series, the designers and showrunners were forced to make it look the most advanced series in the franchise due to executive meddling. Midnight’s Edge has a video on the whole thing. Honestly, I’m not terribly excited about Discovery, prequels tend to be terrible (just look at Enterprise) and apparently it’s going to have more sex, which is one to the things that killed Enterprise. Is it echoing here? It’s not looking good for the series, but maybe some series do require extended periods of staying away from the general view and stay within the fandom in order to renew themselves completely.

Review of the Month; Schwarzesmarken TV

To preface this review, I do have a bias for Schwarzesmarken as a fan of Muv-Luv overall. However, because of this bias I’ve decided to approach this series from the point of view that it is a singular entity without any ties to pre-existing franchises. This decision also stems from the fact Schwarzesmarken was marketed with that title alone without any naming connections to Muv-Luv. Within the fiction there is no pretence about the connection, and one can only guess why this decision was ultimately applied. Whatever the case may be, the show still needs to stand on its own and deliver a solid show for a positive review.

To expand upon the series needing to stand on its own, this review could compare Schwarzesmarken to the Light Novels and the Visual Novel, and to Muv-Luv Alternative: Total Eclipse. This wouldn’t allow the work to present itself as it is. A comparison between different versions of Schwarzesmarken is worthy of its own post altogether.

A television series is a different beast to literal works. Total Eclipse is a lot of people’s first experience with the franchise and Schwarzesmarken served the same role to some extent. Because of this, in this review, I won’t hold against the staff for the changes that were made during the adaptation. Whatever is on the screen and how it is conveyed to the viewer are the only things that matters, supplemental and source materials be damned.

This’ll  be more or less in-line with the Kimi ga Nozomu Eien and Muv-Luv posts I’ve done. Expect a general outline of the whole series with commentary running along with it. Not the best way to make a review, but never thought I’d go over this episode-by-episode basis. Expect loads of terrible jokes to boot. If you want a short tl;dr version, you can slip straight to the end paragraphs.

Now that you know where this review will have its base stance on regarding the series, let’s start with the show.

Continue reading “Review of the Month; Schwarzesmarken TV”

Plane elements in Tactical Surface Fighters; F-5 Freedom Fighter

I’ll be blunt straight from the start; the F-5 series Tactical Surface Fighters are boring and blocky as hell. Their design takes only few elements from the fighters overall and mostly rely on being blocky to stand from the crowd. They are the antithesis of the TSF design rules I proposed, and the main argument why they are invalid across the board. I shouldn’t really be writing this with a fever, but now that I finally have access to my folders and books, I wanted to get this done away. However, let’s start with the real F-5 first and foremost before mentioning a thing about the TSF.

The F-5 was designed in the late 1950’s by Northrop to compete with its contemporaries, mainly the McDonnel Douglas F-4 Phantom II. F-5 however became the more popular of the two for it being a versatile and a low-cost light weight supersonic fighter. Mainly designed to be an air superiority fighter, the fighter was also capable of air-to-ground attacks.
The initial run of F-5’s was around 800 units, as USAF didn’t have a need for a lightweight fighter such at the time. Nevertheless, the F-5E Tiger II was put into production for Americas’ allies after Northrop won the Fighter Aircraft competition in 1970. F-5E saw an overall improved design with more powerful engines with the J85-GE21 turbojets capable of 2 268kg of afterburning thrust, greater sing spanand other overall improvements. One of the places F-5E saw extensive use was in Vietnam due to its nature of being able to perform both air and ground attacks. Its two 20mm cannons in the nose could deliver new speed holes to the enemy units and the F-5-E was capable of carrying two AIM-9 Sidewinder AAMs on its wingtips, plus around 3 175kg of mixed ordinance. By the mid-80’s, over 20 countries had imported the F-5E into their air forces, and while it may lack all-weather capabilities, it’s relative cheap price and operation was deemed more valuable. Taiwan, South Korea and Switzerland all produced F-5E under license, and while the production of the fighter stopped in 1987, manufacturers still offer a variety of upgrade options. It’s one of the more widespread fighters in the world, and countries like Mexico sill have some in service. The last evolution of F-5 series would have been the F-20 Tigershark, but the USAF declined the aircraft. However, the F-5 series served as the basis for the Northrop YF-17 and F/A-18 fighters. To be fair, there is so much history to the fighter due to its widespread nature that it’s better for you to check what interest you more, this is just a basic introduction to the fighter.

f-5There’s no imageboard variant this time around. The lack of any sort of good backside image or Jump Units for this particular version really shows how the further variants are more prevalent in the franchise

The TSF version of the F-5 bears some resemblance to the fighter in its history. Initially rolled out after the introduction Phantom II, the Freedom Fighter opted for lower armouring and superior mobility. Just like the F-5 fighter was used to train pilots, the Freedom Fighter TSF served first as a training machine that was converted into a full-fledged combat unit. We don’t know what this training TSF was named or looked like, but that doesn’t matter. Similar how the real life F-5 became an export extravaganza, so did the Freedom Fighter, with the US forces allowing to local productions of this lightweight surface fighter in order to take pressure off from American productions. This naturally gave the Europeans their own TSF push towards Kashgar and counter the invading BETA.The weapon loadout for the Freedom Fighter was simple; a WS-16 Assault Cannon and brass balls for the pilot. The FE85-GE15 engines allowed the TSF to have superior maneuverability over Phantom II, but the weapons technology was severely lacking during the early 1970’s, making the war against BETA more or less a futile attempt. However, it was because of its cheap price and low-maintenance why Freedom Fighter found success in the front lines. The Soviets and European forces found it worth to mix Phantom IIs and Freedom Fighters in a healthy mix to compensate each other’s lacking capabilities, which would yield further high-low mix troops in the future.F-5 itself influenced the Soviet’s MiG-series and would affect their design decisions in regards of close-combat capabilities. The French developed the Mirage III based on the Freedom Fighter, which would ultimately give birth European 3rd Generation TSFs such as EF-2000 Typhoon and the Rafale. The F-5 series of TSFs would continue to mirror the evolution of the real life fighters in a very similar fashion, giving birth to F-5G Tighershark Tactical Surface Fighter and other variants. Of course, Muv-Luv’s BETAverse differs in naming schemes and has some additional variations, but that’s par for the course.As for the design of the F-5 Freedom Fighter, it shares more design elements with the F-5 Phantom II than the real fighter it is supposed to be based on. Sure, the Jump Units (not pictured) share its normal resemblance with the fighter, but outside few overall similarities the core Freedom Fighter doesn’t have much going on for it. This is where the early consistency still kicks in hard, but the lack of further discerning elements in the TSF from the fighter makes this a boxy and boring unit.  Things would get any better, with F-5F Mirage III being essentially the same with a new chest, wider antennae and spikes on its knees. It wouldn’t be until Mirage 2000 before the European TSFs would start to carry further elements from the real life fighters. That’s a damn shame too.F-5 did offer elements to borrow from, but I guess one ways to show how low-tech 1st Gen TSFs are is to have lacking plane elements in the,
Just like with some other TSFs, what matters more is the history and intention of the rather than the design, resulting in a poor comparison point between the fighter and TSF, unless one wants to over analyse every single little bit on the unit. Frankly, that would be useless.From now on, I probably will have to resort to various other sources for images, most likely the use of CGs will see a rise.

Monthly Music: Giant mutated creature version

After you’ve lived more of less four months and then some in the midst of uncertainty, constant renovation buzz and the skull shattering clatter it produces on top of other things, you tend to get tired. Really, really tired. This has affected the quality and quantity of this blog rather visibly. But, I aim to persist. In the end, as long as I manage to produce something, even if it is sub-par, I can always aim for higher goals in the future. While I had high hopes for myself and for last month’s Three, I feel that it lacked certain something. Sure, I had planned the DVD-BD comparison to be nothing more than a bunch of pictures, but exhaustion is a bitch. I admit, my research and arguments have been lacking, the spirit has not been there and the heart has barely beaten. My drive is somewhat lacking.

That is the very reason why this month lacked two planned things; a new ARG podcast and that planned “pilot” of sorts for voiced blogging. Hell, I was intending to do one for this, but then I realised it’s worth jack shit if my throat is coarse and I can’t get a proper sound out of me. Thank you colder nights and no heating. But, at least I managed to throw out a TSF comparison entry, and the next one of the list would be one of the three; F-18, MiG-29 or F-5 Freedom Fighter. Then we’d be finished with the derivatives from image boards.

I counted the TSF entry as mecha design. While there are numerous matters I could touch upon, the basics are essentially out there. Now would be the time I start to go into more in-depth matters, like transforming mechas. However, that is a large topic with few entry points and should be a multi-part entry. For example, Super Sentai has its own approach to transformations and combinations, different from Transfromers and Brave series. Macross has its own, as does numerous other shows. Some just make it work, some want it to be show accurate and some just have them for the sake of being cool. I may end up purchasing few books before moving onwards these entries, because in-depth is in-depth. Most of those who have read those entries most likely already have noticed that they are not intended as guides how to design with a pen, but rather to work with the ideas and groundwork designs. That of course requires reading outside the robotics field and into industrial design as a whole.

The chosen music for the month has its relevancy. Going back to the roots and creating new from the base concepts. I’ve talked this before, and I’m pretty certain all I need to do is go back on writing about video game design. This may become rather forced thing to some extent, but there are loads of games to choose from when it comes to design, whatever design element we want to talk about. I do have a discussion surrounding the revamped Pokémon designs for the upcoming Sun and Moon, using Rattata as a case study. From there I guess games are the limit, and depending how my plans go, I may end up doing a review on something PS4 related this month.

I may drop Monthly Threes for the upcoming month, unless somebody has an idea for a theme or I come up with something worthwhile. Hell, maybe the whole mecha design thing could be one, comparing three iterations of some long running franchise like Gundam and discuss the main design elements that simply will not vanish. Call it a Gundam stereotype, if you will. Another would be to cover an obscure comic creator, Ken Kawasaki, but the information I have on him is… well, all I know is that he died in a motorcycle crash at a young age in the early 1990’s, with only two books collecting his works. Information is hard to come by, even in Japanese. Then again, perhaps it would be best to stray from these obscure, somewhat hardcore products of the orient for the time being altogether  and just concentrate on things that are on the surface and still relevant. Thou I still argue that even the obscure needs to be appreciated, at least by just one other person.

Then again, I have also planned to piss off people and discuss why games are or are not art, but from the arts’ perspective, not games’ as it usually is. This may seem a bit weird, as one could assume the two are largely exchangeable, and to some extent they are. The important difference between those two is that one observes whether or not games are art from the viewpoint of outside the game industry, while the other takes the viewpoint inside the industry. Without a doubt, the one that stands outside the industry is largely the majority, as that tends to include the common consumer who may just play the occasional slots. One of the points in art is that when it’s distilled to its very core aspect, it will always end up being more than what a game would be. We’ll discuss this more down the line, perhaps this would be great as the first voiceblog entry, with sources and such cited in-text.

The main reason why such discussion still needs to be had is because electronic games culture didn’t just pop into existence when you were a child. As I went through few months back with the penny arcades entries, the prototypical era for our current game culture is well over hundred years old or more.  While literature and music are largely clearly cut forms of media, movies have had about a hundred years to mature and gain what they are, though it could be argued that its roots in theatrical arts has given it its appreciation. The same should be applied to video games, and to understand what your PlayStation, Xbox or Nintendos are all about, we need to appreciate the history they stem from. I’m sure I will echo these in the future, it just may take some time.

As for now, go listen more of Shin Godzilla‘s soundtrack. I ended up picking it up myself, even when it has something like seven different variations of Neon Genesis Evangelion‘s Decisive Battle’s drum beat.

Plane elements in Tactical Surface Fighters; F-16 Fighting Falcon

The F-16 Fighting Falcon has proven itself to be highly manoeuvrable air-to-air and air-to-surface fighter that during its reveal was nothing less than a quantum leap in fighter design. After all, it was the first fly-by-wire electric combat aircraft. F-16 is a low-cost and high-performance machine that for a reason became a classic on its own rights and was imported to numerous other nations like Belgium.

F-16A saw its first flight in late 1976, and stepped into United States Air Force’s service in 1979. F-16B was a two-seat variant of the machine and engineered the path for F-16s to have built-in structural and wiring provisions and systems architecture that would allow expansions in multiple roles since 1981. These expansions vary from precision strike ability to night attacks and beyond-visual-range interception missions. This lead into F-16C and D variants that are single- and two-seat variants of the aforementioned while incorporating new technology. All current USAF units are converted to these models, while Air National Guard and Air Force Reserve still holds some A and B variants.

In comparison to its contemporary fighter aircrafts, the F-16 is a serious threat to the point F-35 losing to it in a direct dog fight. The comparison between the two is not as apt as it would seem. F-35 is mainly a stealth fighter meant to destroy the enemy before it is even spotted. Discussion whether or not manned fighters are the future with the advent of cutting edge drone technology is another discussion that we should have one of these days. Nevertheless, the F-16 is a beast that with an operation radius that exceeds many other fighters and is an all-weather fighter. In an air-to-ground missions the F-16 can fly more than 860km, deliver a pin-point strike to the object and return to base, visual or not. It’s weight, small size and well designed fuselage allows it to fly 2 125km/h with its afterburning F100-PW-100 turbofan engine and can take up 9Gs, which is helluva lot of thrust. It’s dryweight is 6 607kg, and maximum take-off peaks around 14 968kg, allowing it to carry numerous weapons with its nine hard points.  Internally, the F-16 has a M61 A1 20mm gatling gun system, which had some installation difficulties at first.

Rather than going on about the F-16, I recommend checking the F-16.net for a full coverage on the fighter, including full listing of its armaments, variants and its operational history in the Persian Gulf War and in Operation Desert Storm.

In Muv-Luv‘s BETAverse, the F-16 mirrors the real world fighter in that it’s a lightweight Tactical Surface Fighter with superior mobility and range, operating in junction to its weightier siblings F-14 and F-15. Similarly how the fighter has a long-range of operation in multitude of roles, the TSF has a long operation time on the field, derived from the Lightweight Tactical Surface Fighter competition, which aimed to create highly manoeuvrable and cost-effective unit to change tactics against the BETA. This cost effectiveness allowed the US to produce more units, as they could not completely replace their ageing first generation TSFs with the two aforementioned heavier models.

Just like in real world, the F-16 TSF was imported to numerous other countries, replacing their F-4Es and F-5s. The Benelux union has its own variant as a result of import, the F-16AM, which more or less has the usual mid-life upgrade with overall technological improvements. The same applies to F-16C, mostly used by the US and UN, with improvement Jump Units.

Due to F-16s being everywhere, they were seen in action in numerous places like Yukon base, Battle of Rhodes and during Operation Cherry Blossom in Muv-Luv Alternative. TSFs don’t tend to vary in armament a whole lot, and F-16 is not really an exception. WS-16 Assault Cannon has been TSF bread and butter since F-4 Phantom, thou later F-16 were updated to handle the AMWS-21. CIWS-1 Close Combat Knife is the choice F-14’s for combat, a good choice for a TSF that should excel in close combat. F-14 is also capable carrying MGM-140 ATACMS missile containers, which reflects the real world fighter’s multirole function.

Historically and in idea, the TSF hits close to the fighter, but the design is more derived from the in-universe sources. This is best seen in the idea that most of the TSF’s design is that of angles rather than smooth curves like with the fighter. This is because almost none of the TSFs have what could be called smooth lines. That in mind, common points between the TSF and the fighter can be made, e.g. the intake in the TSFs abdomen is the same as the fighter’s, just more angular.

As usual, here's the original imageboard version
As usual, here’s the original imageboard version

After you get use to the idea of looking at certain aspects in the F-16 TSF, you end up noticing common points. It seems like the gatling gun and loads of sections on the fuselage’s back made some of the TSF’s detailing. It’s interesting to note that the thighs didn’t see any additional details, while otherwise you see a lot of red dots downwards. Shoulders are interesting, to say the least, as they incorporate F-16 rising parabola silhouette, just with wings cut off. The arms follow this idea to some extent, but are surprisingly clean of any needles detail

The groin guard on the other hand is a flip of the coin; either it is inspired by that parabola silhouette, or was thrown in there just because. While I’m not a fan of the knees American TSFs have, they have their function in housing the CIWS-1.

Happy to see they're free of this switch blade bullshit
Happy to see they’re free of this switch blade bullshit

The knees however do make the TSF look a bit cumbersome. Despite the F-16 being the lightweight unit, it doesn’t really look like it. The shoulders look far too ornate for that, and shaving down the skirt’s and kneeguard’s sizes would’ve done good. Maybe even take elements of the shoes too. It does resemble the fighter while not really pushing those elements forwards enough. A slimmer version of the this design would’ve probably been the best middle-ground in tying it down to the TSF tech tree while pushing the idea of these being in-universe versions of the fighters.

And on top of all that, it has a face on back of its head.

face
I WILL DEVOUR YOUR SOUL

And while we’re discussing things from âge, today’s the 27th of August. Happy birthday, Hayase Mitsuki.