Reviving for new ages is a challenge

Earthworm Jim is one of those franchises that had a momentary impact. After two good games, a decent TV-show and mediocre three-isue comic series by Marvel, it all went to the shitter. It’s a weird IP, tied to a weird era of television and culture in terms of design and visuals. Everything from the slightly scratchy and clearly hand drawn visuals to the slightly gross-out and weird designs that was hallmark of shows like Cow and Chicken and even Rugrats. You would think that making a heroic earthworm in intergalactic quest for peace with comedic overtones would be relatively easy to work out, but the sheer nonsense humour and how the games presented themselves didn’t really leave much room for the TV-show or the comics to flourish. Earthworm Jim 2 is even more nonsensical than its predecessor. Both of them are quality titles for the system they were released for, but adapting something like Earthworm Jim is just stupidly hard due to the lack of any cohesive world, and that’s kinda the point too. Sit back and enjoy the chaos and whatever ensues. EWJ is a like an acid trip that kept pushing envelope of What the Fuck.

Earthworm Jim, much like many other franchises and IPs, needs updating from time to time. Especially now EWJ is effectively being resurrected both in comic form and as a game for the upcoming Intellivision Amico. I agree, resurrecting Intellivision is a nifty move, but keeping the controllers like they were in original Intellivision won’t bode well. Hopefully optional controls will be a thing. One point that Intellivision should update itself to modern era. To use examples of IPs that kept renewing itself for new generations  are numerous, from The Transformers to Super Mario, most long running franchises have managed to find new ways to expand their consumers or find a new niche. Sometimes both. There are numerous examples of franchises getting screwed by badly handled renewals, like how Star Trek Discovery is less Star Trek than The Orville. Star Wars can be used as an example for an IP that war warmed up again and then revamped for the 1990’s with comics, books, games and whatnot. Let’s not talk about 2000’s and 2010’s Star Wars for now.

Very few IP can stay the same without any change throughout its existence if the owners want to milk it years on end. Something like EWJ was mishandled extremely badly after the second game was released. Some of the later Mega Man games were terribly handled as well, ranging  from utter garbage like Mega Man X 7 to series ending games like Star Force. EWJ revival is in good hands, seeing his original creators Doug TenNapel, David Perry and the rest of the motley crew are working on it. Doug’s handicraft especially is what has always given Jim his iconic look. While there are some who would rather not have Doug on-board, and that this blog holds the stance that original creators are not necessary in order to create great, if not even better, new installments to an IP, the history of EWJ games has been lacklustre without the original Shiny Entertainment team. Something like Metal Gear is relatively easy to approach, as the series’ core is easy to follow and has set tropes to the extent first few Solid games are just remakes of Metal Gear 2 in many ways. The weird humour EWJ employes is harder to trace down properly and replicate by someone else without it looking like a botched copy. It can be done, but it without a doubt would require people who are willing to let loose. Maybe be willing to have few magic brownies too. As weird as it may sound to people who didn’t see EWJ’s momentary popularity, it was on a straight road to stars, only to crash and burn.

EWJ can’t become a similar hit it used to be at this time with the current zeitgeist in popular culture and video games. Even with revising it’ll have the baggage of past games on it. It will be compared to the best of the franchise and expected to at least be on the same level. Beating Earthworm Jim 3D isn’t hard, or that GBC game, but it’s extremely easy to lapse how this new game is being handled. It’s just as easy to follow the first two game’s example and make a third entry that’s just an extension of one or the other, which would really would probably meet a positive reception, albeit lukewarm in reviews and be called a derivative work. It’d be just as easy just to do something completely different and unrelated, failing to understand why the first two EWJ games were so well loved. Nevertheless, it is easier to do a proper EWJ title nowadays than what it was twenty years ago. The IP is inherently 2D action. With 2D being again accepted as a valid, completely and perfectly normal view and gameplay angle, Earthworm Jim has a chance of becoming popular again. Anywhere between late-1990’s to mid 2000’s that’d been almost an impossible task, though even now 2D games often get the shaft.

However, the era of anthropomorphic mascots has been long over, with Sonic effectively being the only one left. Jim was immediate result of Teenage Mutant Ninja Turtle‘s explosive popularity, much like Battletoads was. What we have now related to anything of the sort simply doesn’t exist. Cartoons solely for kids in similar manner to the 1990’s are rather rare and cross-media franchising has changed. It’s not kids that are the main target of these cartoons and toys anymore. It’s still the same people who live with their parents and still buy the Spider-Man toys from the local store. You can’t dismiss these lifelong fans, but at the same time considering expanding the market, especially towards kids if the IP is originally a children’s franchise, is important. It’s a mess of a juggling act, trying to appease the long time fans that demand and rave multitude of things, trying to keep true with the origin and serve new possible customers while you’re at it all the while trying to make something new.

Sometimes it’d be the best to ignore everyone and everything and see what makes a worm tick, and follow those lines to perfection. Sometimes.

‘Fight!! Iczer-1’ production materials.

This is a small set of production materials out there directly relating to the Iczer series. Click an image for a larger view and easier navigation per gallery.

Iczer-1

Nagisa Kanou

Villains

Side charas

Character and environmental models

Rules for me, rules for you

Have you ever noticed a thing that happens sometimes, where people apply rules to someone else but never follow through them themselves? As if the rules that bind others do not concern themselves. You may see this while driving, people ignoring the rules and doing whatever they want while cursing someone doing the same thing or something else that break the rules. It’s no hard either, human mind being so easily bent to believe two or more opposite things to the point of mental breakdown. We’re natural beings like that in mind, we don’t have binary in our brains. Chromosomes, sure. This is why it isn’t hard to believe James L. Brooks came out few days ago that he doesn’t believe in any kind of book burning, but is burning his own book by removing the episode Stark Raving Dad from The Simpsons. Not just from syndication, it will not be present in any future re-release or digital service. It’ll be gone, poof, burned from history.

This coincides with the documentary Leaving Neverland from HBO, which once more covers sexual assault allegations made against the late Michael Jackson in 1993, who played a major voice role in the episode. At the time, the episode was a big deal. Nobody truly knew if it was Jackson or someone else, but this episode opened a whole new door for The Simpsons with guest voice actors, for better or worse. Usually for the worse. Hopefully this won’t lead into anything other similar actions, especially considering the role The King of Pop had on music and culture at large. He was an icon, an important one more ways than one, but this ain’t the blog for that.

The question is; Does Brooks have the right to burn a chapter from his book? Almost thirty years after the fact, legally yes. Culturally and ethically, no. The same question that followed Star Wars’ Special Editions should apply here. If we count television series like The Simpsons as a form of art, this is willful destruction of art, something that most would argue against. Except if its art portraying opposite political ideology or people, then there are a lot of people who would rather destroy art just to forget the past and repeat it in the future. At what point does art belongs to the audience, the culture at large? Nowadays it seems never, as big corporations and people like Brooks seems to considering things in terms of fame and money only. Then again, that’s what matters to them, who cares if one episode of a long running series is removed, right? It’ll still make money.

But if we’re really going follow Brook’s mindset, why just stop with Stark Raving Dad? Back in 1995 Kelsey Grammer was charged for sexual assault on a 15-years old girl, but the jury refused to indict him based on lacking evidence. Larry King was accused of groping Terry Richard’s. Dustin Hoffman has allegations on him for harassing a 17-years old intern. Aerosmith as a band probably can gather more stuff together than most visiting actors, seeing how Steven Tyler once had a 14-years old girlfriend, whom of he had guardianship over. Wade Boggs was accused of being a racist. Jose Canseco was accused of sexual assault in Las Vegas. Probably most of the sports stars visiting the show have some baggage. Not even the series creator Matt Groening has escaped some kind of mud, as he was sued for discrimination. In future, there will be more cases that allege something towards someone in the cast.

Does it matter that some of these are confirmed, some just allegations and some deemed untrue? Doesn’t matter if we go Brook’s rules. The case against Jackson was settled, and the agreement specifically stated that there was no wrongdoing. There was never enough solid evidence to charge Jackson, and the only person who had a word stopped cooperating with the police after the settlement. You can’t bribe people not to testify, so if he had been sitting in the stand based on the charges, he would’ve had to tell what he knew. According to the grand juries, none of the witnesses had seen enough proof to implicate Jackson on anything. Even in the further cases in 2003, he was found to be guiltless to all charges in 2005. However, despite him being freed of all charges, Jackson’s name was pulled through the mud, his career damaged, Sega stopped working with him (this affected production of Sonic the Hedgehog 3), franchise agreements were cancelled and the man never really recovered.

Is one of the best episodes of The Simpsons so little worth, that a documentary, a defaming one at that against a dead man, is enough to have it pulled from the show? If so, then for what reason? Political correctness? All in all, it seems because he feels convinced by the HBO documentary of Jackson’s guilt. That is his call. Documentaries are always with a perspective, usually that of the maker. Very rarely you see an objective documentary that makes balanced arguments on all sides. It’s easier and more profitable to make something sensational. Watching a documentary is like reading a news article in that the viewer needs to analyse what’s been show and in what way, what is not shown and why, how things are shot and what sort of manipulative elements are presented e.g. in background music selection and colour hues used.

But the deed is done. We’re going to lose one of the best animated episodes of television to date, saved only by previous releases. However, I did hear a familiar face musing that this might’ve been Brooks just having a good time to pull out the episode, that they wouldn’t need to pay the Jackson estate any further, but no reports of this has come out.

Maybe this would be time to ask the usual question if we are able, or if we should, separate art from the artist. After all, the content itself is not the creator. Can we diminish the value of pieces of art and products if their creator, any of them, suddenly is found to have done something objectionable? Roman Polanski might be the best known case, where court found him guilty of sexual child abuse. Perhaps this is one of those times where we find ourselves making use of that human duality, allotting rule breaks for others while expecting rest to follow them perfectly.

It’s a shame, that’s all I can personally say. Such a waste.

Three approaches in designing a mecha

The three approaches to mecha design this blog uses is based on their role and function within fiction rather than in-fiction. The first archetype is the Protagonist, a mecha that functions or acts like any human character and is treated as such within the narrative.

The Protagonist mecha as a character serves an integral role within the narrative. Initially they may seem like simple machines, like the eponymous Mazinger Z, yet they exhibit clear-cut human characteristics in actions and behaviour. Mazinger Z sunbathing in the original series Mazinger Z-series is this exact human-like behaviour the mechas are written with.

Here, the symbolic action of shaking hands is not represent the pilots themselves per se, but the relationship and role of the mechas

These type of mecha can also be explicit characters unto themselves, as it is with the The Transformers and Brave-series. These mecha are only separated from their human co-characters is their nature as giant mechanical beings. In cases like Beast Wars, there is no distinction between characters as such, all of them simply are the characters, but share the main characteristics of being human equivalent in different form.

The Protagonist has a unique role within the story. Not necessarily the main protagonist in itself, often sharing that role with another human character or another mecha. The same categories of heroes and villains apply to these as much as they apply to human characters.

In visual design, Protagonists more often than not share a humanoid body with strikingly human face. Heroman, by all intentions, shared all the previously mentioned points; a human-shaped mecha with human face and sits in a prominent role within the fiction as one of the main characters next to the main human protagonist.

American made in Japan

However, there is extremely wide variety of Protagonist mechas which toy with the concepts and ways to realise the main role. GaoGaigar, for example, in itself has no characters outside as it is an extension of Guy Shishioh; it less piloted as it is a giant piece of armour for Guy.

It must be mentioned that most Protagonist mechas are found in media aimed at younger audiences with healthy amounts of toys, and tend to have connections to the Super Robot side of mecha. This is not to degrade from the fiction itself, only an observation.

Naturally, the opposite of human-like characters would be the lack of humanity, as it tends to be the with the second archetype, the Machines.

The utilitarian approach to mecha design has always been there, though it gained most of its popularity in the 1980’s. While Mobile Suit Gundam certainly paved the way for Real Robot as a sub-genre, shows like Armored Trooper Votoms and FLAG have taken the concept to its more natural direction due to lack of needing to sell toys as much.

FLAG‘s HAVWC, High Agility Versatile Weapon Carrier, is equipment.

Unlike with the Protagonists, a Machine has no nature to speak of. To make a blunt comparison, they are toasters. Their use is largely utilitarian. The form is made and designed for a purpose first and foremost, following the necessities over flavour.

The mechanical design is far more industrial as opposed to organic contours, than anything else among the Machines. Take Heroman above for an example. Most of its shapes are round to further accommodate its humanoid visual. While at a first glace HAVWC would fit this as well, its shapes are equivalent that of a car, lines made to increase aerodynamics. Heroman is not exactly an aerodynamic character, and its not supposed to. That is a tertiary concern at best. In order for it to be more aerodynamic in its forward position, it would require some sort of wind-breaking apparatus around its chest to lessen drag.

However, FLAG is an example of the more more adhered end, similar to Metal Skin Panic MADOX-01, which has been described as equivalent of mechanical pornography due to its attention detailed opening.

The Machine comes in many varieties, all of which share multiple characteristics. Mass production is one, where the mecha can be or is mass produced. Scopedogs are a dime in a dozen in Votoms and are easily replaceable. Round Vernian Vifam is another example of a show, where mechas are tools, and the cast goes through numerous units during the course of the show.

Valkyries from Macross, despite often gaining a prominent role as a single unit or a customised main character vehicle, are all from a production line of similar units. While later entries in the series have made an effort to give most characters their own unique snowflake Valkyrie, in the end all of them are more or less faceless machines that showcase no human characteristics, outside the genre-defining four limbed humanoid shape.

Specialist roles are not exactly uncommon among Machines. Full Metal Panic!’s Arm Slaves, while mostly consisting of non-unique units, the units used by the protagonist Sousuke Sagara deviate from this mould in form of Lambda Driver, which allows the pilot to turn their willpower into physical force. This specialist position, be it due to extra equipment, prototype role or simply because the mecha is a protagonist’s unit, is a common trope. This position does not change them into Protagonists per se, unless human characteristics are applied. It is not uncommon for people, fictional or not, humanise their devices to a large degree and treat them accordingly.

Vehicles technically fulfill this spot,

However, it’s not uncommon to see the the aforementioned archetypes mixed either.

The Hybrid approach takes characteristics from both sides of the fence in a happy mid-ground. Perhaps the most well-known examples of this would be the Evangelion units of Neon Genesis Evangelion. While treated as equipment and something that can be mass-produced, each EVA-unit exhibits overt human-like characteristics from in-universe and in their role. EVA-01 is effectively one of the main characters while still serving the role of a toaster. Its design goes for utilitarian, but only in terms how the EVA-unit itself allows this in-fiction. The base design idea was, after all, a monster barely controlled by humanity.

A some sort of purple mom bot

Another method to give mecha character is by keeping the core mechanics itself intact in terms of its role though the use of Artificial Intelligence. Jehuty from Konami’s Zone of the Enders series of games is exactly this.

Jehuty in itself has no conscience or awareness within fiction, no character to speak of. Its actions and behaviour are determined by its pilot and support AI, A.D.A. In principle, A.D.A. could be embed into whatever Orbital Frame would support the addition.

These three approaches are more or less starting points, more or less. While at first it may seem arbitrary to make a category of three, one of which is effectively just combining the first two, they serve their role in setting the proper mindset for design work. That is, the nature of the mecha rather than the end-visual the designer ends up making. That is up to the designer’s own style and research into the subject materials.

For further reading on expanded subjects, such as combiners, basic design tips, controls and similar, please visit the Robot Related Materials section.

GDP – Gabumon Design Progression

Sorry, no Aalt today, A9 to the rescue. You guessed it, time for another Digimon design post.

1 Gabumon Digivice

What a cute little bugger. Like all early Digimon, Gabumon had its sprite designed first. The actual drawing and finalised design only comes later. As usual, the first sprite comes from the Pendulum toys with its small displays. As we don’t have the official design yet, this is the most basic image that exists, and it looks like a weird bunny that’s standing up, ready for a fight.

2 Gabumon

And there we go, the actual design. Naturally, the first thing that springs out here is the pelt, a new addition compared to the sprite. Other features have been exaggerated: a longer snout, large teeth, bigger horn, thicker legs and bigger ears. The sprite already featured stripes of some sort, but now they are transferred unto the fur and boy howdy have they multiplied. Giant claws extend from the fur, with two extra (empty) arms hanging in the back. Another new addition is the tail, which seems quite reptilian (which Gabumon is, underneath this fur). Finally, there is the egg shaped mark on its belly. Personally, I see some small resemblances to Agumon here as well, the yellow colour of the main body, the small feet and the somewhat protruding snout with higher placed eyes.

3 Gabumon_ver_s

Games time: Digimon Ver. S. Although our friend got squashed a bit, most details remain, although the fur colour got quite a bit darker. Most of the stripes on the fur stay in approximately the same place though, which surprised me of a sprite of this size. Furthermore, the toe claws are a bit sharper instead of the dull ones from above. The only other major change is the belly, only because there was no enough room to properly put that whole design in such a limited space.

If there is a chance to talk about the V-Tamer manga, I’ll take it. It’s one of my favourite pieces of Digimon media, but that’s something for another time. This is not quite the Gabumon you know, yet he appeared a few months later than the sprite above.

Disregarding the ladle and pan as props, it’s a more simple design with a cute charm. While Gabumon still wears his fur, it has a more smoother look. This manga isn’t really clear on his extra arms though, as they can sometimes be seen (as in the picture above, below his left arm) but on other drawings they are completely missing. The overall shape of a lot more simplified, with the snout being much more flat and wide (yet retaining his teeth). The very small tuft of hair that was present in the original design has grown quite a bit, even surrounding his horn. The belly markings are still there, but have seen a bit of a redesign giving the top marking extra curves while giving the lower ones pointy edges. To top it off, its feet have also shrunk considerably so the for actually drags over the ground a little.

Very noticeable is the fact that its claws turn into digits, allowing it to grab things. Previous incarnations actually have hands hidden inside the fur, making the claws part of the ‘wearable’ fur.

6 DMW

As can be seen here, in a screenshot from Digimon World. A very faithful model, with only the smallest details left out or simplified such as the bumps on its tail, no small tuft of hair around the horn and the lack of extra arms, the rest is fully visible. The aforementioned hands within the fur, the belly design, the horn and the long ears. Its teeth are even protruding giving it a bit of a savage look.

7 Gabumon Anime

Time for Adventure. This design is a whole lot more rounder and cuddlier, with the savage details being toned down for a cuter look. Let’s start from the top, the horn. It is almost completely identical, save for a few missing lines on the top and bottom and the colour. The original horn had a lighter shade of yellow than the main body, but those are minor things. The fur has gotten a bit lighter and the purple stripes have turned dark blue. Most of the markings are in their original place, but some are missing like on his ears and his extra arms. Now for the most major change, the face. Just like in the manga it is shorter and wider, giving it a cuter look. This is also made possible by making the teeth smaller and making them stick out less. Because of these changes, this reptile head looks more like a weird dog.

The eyes have changed ever so slightly, with a little less eyewhite being visible. This also contributes to the cute factor, has it is less of a predatory look. The mouth is changed in a very subtle way, by giving Gabumon a chin of sorts clearly defining the head by adding an extra line above the markings on its belly. This gives off the idea of it having a very fat neck.

Yet again we have to look at its belly markings, because they have changed again. Just like the rest of the design, they got smoother and lighter, but more importantly it got symmetrical. You can argue that the original design has no clear perspective for the belly markings, but it’s also possible it’s just a very weird shape in general. The arms lack a few veins as is common with the early designs, but they’re also slightly longer and more importantly closer to the actual claw part of the fur. Ending at its feet, we have smaller toes (claws) that are more removed from each other while also being sharper.

9 Gabumon_dgp

Honestly, we cannot tell all that much from this image. I just really wanted to include it, since he looks baller as fuck.

11 Gabumonx

X-Antibody time. As always, these designs are complete overhauls being based more on nature and ‘realism’ as far as that’s possible. In the case of Gabumon, that means that it’s no longer a reptile, but a beast, drawing more inspiration of a giant ferret. Its horn size (heh) increased and the fur changed to a darker shade of blue / purple. It covers almost the same area, except for the snout and one of its arms with a different pattern. This also reveals the way smaller teeth and a snout that’s not on the fur. Claws have formed at the end of his hands, and the claw on the fur has drastically increased in size. According to the lore, it picks up pieces of fur left behind by Garurumon and shapes it into his fur pelt. He keeps one arm bare to set it on fire to punch others with (we can only hope it’s magical fire). It’s unclear if this form has two extra sets of arms as well, as images are scarce of Gabumon-X. The tail has changed from a reptilian tail to a furry one and the other big change his the belly markings. The belly itself is a dark purple instead of teal, and the markings itself have a drastic different form with very sharp corners. As far as I know, the markings have no meaning but it’s still interesting how they even changed that aspect.

13 Gabumon_redigi

We also got a slight redesign in Re:Digitise. This one is fully based on the original design and doesn’t have too many differences except for some minor ones. The horn is sharper at the end, and the markings are more subtle and thin. The fur is almost the same, except that it looks raggedy and worn. The darker stripes are also a little lighter while being in the same places as before. An extra detail is revealed at the mouth however: since the mouth is open, we can actually see the teeth of Gabumon itself and not the fur. The reptilian side comes more way strongly here and is a nice touch. The muscular legs are more defined, and end it sharper claws. All in all, this is personally one if my favourite designs, even is it starts to look a bit like Agumon with a cloth over its head. In all essence, this is not as much as a redesign, but more of an update.

 

Two more 3D models, from Digimon Masters Online and Digimon Allstar Battle Arena. Both are based on the anime version of Gabumon, but they both show one important change: there are straps beneath the fur to hold unto. It actually makes sense, how else would Gabumon use the claws without them flying off his hands? Nevertheless, it’s seen after. The only other major difference is from the first 3D model, where the belly marking has gotten significantly smaller.

 

Gabumon from Cyber Sleuth and Cyber Sleuth Hacker Memory. These games share the same artstyle, hence them being grouped together. As you can see, no straps to hold unto, but there is another change: big hands. The size of the hands has increased, causing them to not be fully enveloped by the fur and ‘pop out’ a little. The fur got some extra detail as well, causing it to look a little bit more rugged. To top it all off, and this is a pretty strange choice, the eye colour starts to turn a little brown.

Even though they are basically from the same game, there is one other change between them, although I suspect it’s mostly artstyle related: the first one has a very clear defined tongue while the other goes with a more ‘the inside of the mouth is just red’ approach. Maybe a little mundane to focus on, but at least I mentioned it.

17 Gabumon_tri

Yet again we wrap up with Digimon Tri, and yet again the fur looks a little bit more shabby. Moreover, the colours have turned a little bit less saturated. The tuft of hair as increased at the base of the horn (it hit puberty) and the eyelashes are way more defined. Funnily the eyes itself have turned a little bit more red again, but not as red as the original.

With that we come at the end of some of Gabumons designs, but we have our first bonus feature here: peltless Gabumon!

 

Only a few images of peltless Gabumon exist, and they vary in colour. This is the true reptilian form: no teeth shown, droopy ears, no beast-snout. You can see the scales on its tail moving along its spine, but the most interesting detail are the markings on its arm. It almost feels out of place, as it looks to me like a military rank tattooed on its arm. But hey, I won’t judge.

Fight! Iczer-1 series celebration

These posts were originally posted as a Monthly Three, as well as Iczer-1’s 30th anniversary celebration series. They are now here collected for easier access. This post covers introduction to the history and the Original Video Animations the franchise has seen.


Rei Aran

If one doesn’t find much sources about Hariken Ryu in English (his career with Godzilla gives him a lot of leverage over other of his contemporaries, Aran Rei is barely recognized in any degree. While Aran is known as one of many people who made up the best era of Comic Lemon People, and thus one of those who influenced then-current Japanese popular culture, and to that extension modern Japanese pop-culture, his name is all but lost in the Western front. He was at his most active in the 1980’s and early 1990’s, having an influence over stylistic sensibilities as well as contributing to the OVA scene.

Born in 1960, Aran’s first published work was Fairies of the Star in Comic Lemon People #6, 1982. Whether or not he had released doujinshis before this is unknown. The one work he seemed to like the most and kept working on  between 1983 and 1993 is Galaxy Police Patrizer-3. If any of his works, it is this one that shows how Aran refined his self-taught skills within one decade to a whole new level.

Continue reading “Fight! Iczer-1 series celebration”

Plane elements in Tactical Surface Fighters; F-18E/F Super Hornet

The F/A-18 E/F Super Hornet was an upgrade to the single seat F/A-18C/D line of Hornets. It all goes back to the YF-17 test fighter in the 1970’s, on which the base F/A-18 Hornet is derived from. This base F/A-18 Hornet is a twin engine multi-mission aircraft designed around leading-edge extensions with digital fly-by-wire controls, with single-slotted flaps and ailerons over the whole span of the trapezoidal wings. This, alongside with canted vertical stabilisers give the Hornet an excellent high angle of attack, which was tested by NASA’s High Alpha Research Vehicle. All in all, an aggressive fighter, if needed.

Originally, the Hornet was to have two variants, an attacker and a fighter. However, these were merged into one craft via the Hornet’s multi-function displays, which allows the pilot to change to attack or fighter mode, or both, making the Hornet a proper multi-role fighter. This proved to be valuable asset in 1991 during Operation Desert Storm, where operational commanders had large flexibility within scenarios and were able to adjust to situations with a single aircraft in the air.

The C/D version, the which Super Hornet is an upgrade on, has two variants; C being single seat and D being two-seat. D is more a training variant, while the proper mission-ready D’s second seat is reserved for Weapons and Sensors officer to assist the pilot. As such, it mostly served as U.S. Marine Corps’ night attack and Forward Air Controller.

Overall, the C and D models are block upgrades made to the Hornet in 1987, incorporating upgraded radar and avionics, ability to carry newer and larger variety of missiles and got neat little things like self-projection hammer and a synthetic aperture ground mapping radar. It also got a new ejection seat, the Martin-Baker NACES. 1989 models also had improved night attack abilities with Hughes AN/AAR-50 thermal navigation pods, good ol’ night vision goggles and two full colour MFD’s. An upgrade set that overall increases the effectiveness of the fighter.

The F/18-E/F upgrades were based on this, but where much larger in scale. While avionics, ejection seat and such things from the previous upgrades stayed largely the same, including the computer software, the Super Hornet is about twenty percent larger, has both heavier empty and maximum weights. Due to it carrying 33% more fuel internally, its mission range is 41% higher as well. All this meant that the catapults and arresting systems on the naval vessels had to be set differently for Super Hornets. Unlike the Hornet, Super Hornet was also designed  to for aerial fueling, extending its airtime even further.

The larger frame of the Super Hornet comes from its longer fuselage and increased win area. The oval shaped intake ramps of the Hornet were switched for rectangular intakes, which also also slightly larger. Despite the larger size, the General Electric F414 engines give the Super Hornet 35% additional trust compared to Hornet’s F404 engines. The fuselage was not designed for stealth, but the overall design was to reduce ballistic weaknesses and emphasize the use of existing electronic warfare with innovative tactics its flip-of-the-switch multi-role function allowed.

The fuselage is also considerably smoother than its predecessors, as Super Hornet saw extensive use of panel joint serration and edge alignment to eliminate unnecessary surface joint gaps and resonant cavities. These help to reflect waves away from the craft, and with smaller frontal cross-section than its predecessors, the Super Hornet is hard to pick up by radar. F-22 and F-35 would totally eclipse it with their stealth technology.

The F/A-18E/F saw its first action in 2002 during Operation Southern Watch in Iraq as a bomber . After that, the Super Hornet has been flying every sort of mission, from escorting to  close air support. For the U.S. Navy, they’ve proven a competent and effective fighter, which has made it a possible candidate for multiple countries for adoption. The Royal Australian Air Force acquired 24 Super Hornets in 2007, which was a controversial order due argument made that Super Hornet was inferior to the MiG-29 and Su-30 in the South East Asia. The first RAAF Super Hornet arrived in 2009, with the rest coming later down the line.  Numerous other potential operators are about, including Canada to replace their CF-18 Hornets, Finland to replace their F/A-18 Hornets under HX Fighter Program, Poland to modernise their defence in 2021 and to have something to replace their Su-22M4 fleet, with few others in the line. Numerous bids for Super Hornet has failed across the years.

The difference between E and F variants are, as you’d expect, is that E is a single-seat variant while F is a two-seat variant.

And as usual, the image board original

The history of BETAverse Hornet and Super Hornet are very similar to the real world counterpart. Based on YF-17 from the Lightweight TSF Program, McDaell Doglam refined the fighter into a multi-purpose surface fighter for the U.S. Navy to use. While the F-14 Tomcat was still around, the Hornet began replacing them as U.S. Navy’s mainline surface fighter due to its lower maintenance and better cost-to-performance ratio. This mean that a Hornet had a longer fieldtime compared to the Tomcat, just like with the real world fighter. All in all, the BETAverse Hornet follows the history of the actual Hornet very closely.

The same can be said for the Super Hornet. With the all the upgrades made to the F-18E/F Super Hornet, it’s effectively a 2.5th generation TSF and fights in the same league as the SU-34 Terminator. Shoulders saw expanded thrusters, head section gained upgraded avionics and sensors and lower body overall was increased in order to expand operating time. The Super Hornet has similar performance to F-15E Strike Eagle, but at a lower cost, making it U.S. Navy’s and Marine Corps’ flagship and mainline machine, which got exported to place like Australia. E and F variations have the same seat arrangement as the real fighter.

As for its armaments, the Super Hornet doesn’t exactly have a wide variety to choose from. The American Assault Cannon of choice, the AMWS-21 Combat System, is the standard long-range combat goes by. As a special option inherited from the Hornet is the MGM-140 ATACMS missile container system, which has a neat radar unit on it to help guidance. Luckily, the Super Hornet as CIWS-1A Close Combat Knife over the terrible CIWS-1B.

As for the design, the Super Hornet really goes its way to incorporate some of the fighter elements into the TSF, but due to the size of the shoulders and knees, you don’t recognize it as a Hornet of any sort from the first view. This is due to its front silhouette being too large, whereas the Hornet and Super Hornet were designed to have less bulk. The colour is adopted from a real life Super Hornet, as pictured above.

Super Hornet had that smooth surface going on for it, and the TSF version of it almost seems to use this. However, the torso’s many segments, and hanging bits on the skirt armour and slightly excessive raised levels on the arms tell that this wasn’t a main concern. Even Tomcat seems to have smoother surface than the Super Hornet. However, it must be mentioned that the skirt armour does relay some of the fuselage’s smooth look, but that’s about it. Not that TSFs have to concern with stealth when it comes to fighting the BETA, but it’s rather important when fighting other TSFs.

The Jump unit is a truncated and deformed version of the fighter, with the nose cut off. Nothing too special overall, though it is slightly bulky.

Where the Super Hornet made its name for the fans was during the events in The Day After timeline, where it serves as the primary American TSF. Especially notable is how twelve  Super Hornets defended USS John F. Kennedy against a sea of BETA in 2nd of July, 2004. Notable is also their use during the Defence of Seattle and during following events.

Greymon Design Development

Welcome back to guest-post hour, I’m your host, the digi-destined A9. Since we left off at Agumon, it makes sense to go to his most commonly known evolution: Greymon. So let’s not waste any time.

Greymon Prototype

Wait a minute”, I might hear you say. “That’s not Greymon! That’s Rhydon, or Nidoking!” And it’s true, all of those have a very similar shape. But consider this: it’s a rough dinosaur sketch, that’s all that was needed at the time since Greymon wasn’t exactly a poster boy for the Digimon Pendulum series. That spotlight went to Tyrannomon, the true and honest evolution of Agumon. Still, the most prominent features are there: fat belly, three horns and a tail. The only thing that’s missing is the skull that the other versions are wearing over their heads, so let’s take a look at those, shall we?

Continue reading “Greymon Design Development”