A single whole through many

There are some things consumers tend to take for granted, but never really stop consider for a significant length of time, unless it becomes relevant due to necessity of circumstances. One of these things is that no product we have is made of one thing. The more complex an item is, the more parts it has. Duh, I hear Jimmy go. However, does Jimmy stop to consider how many different manufacturers are required to produce parts to, for example, a car? A car manufacturing plant, or about any other manufacturing plant overall, does not produce all of the materials they require to build a finished car. More of than not, major elements are produced elsewhere and then delivered to the main producer for final assembly. Windows, wheels, electrical components, and numerous other parts are build elsewhere before being added to the final product. A single car ultimately becomes a finished piece of numerous different hands putting their effort and time into building something that’s at least up to standards. Very few of these people are ever heard or seen outside their own workplace, if even there.

To use another example, you’re using some sort of screen to read this text from, be it a smartphone, tablet or a computer screen. The screen itself was probably assembled by another corporation altogether from the one that assembled the casing now before you, which contains components and PCB produced by another set of corporations. The concept is subcontractors isn’t anything new to an adult, we all know these corporations work and to what extent, yet only at few times we consider how much hell these subcontractors go through to appease the final, larger corporation at the top end of the ladder.

This is also why Kickstarters sometimes meet up with sudden unexpected difficulties when trying to produce rewards to the backers. Printable goods like shirts is easy enough, it require very little hands in the middle, but when you need to produce metallic goods, large books, decal sheets and other items, juggling between subcontractors, prices and budget becomes a rather gruesome task, especially if the Kickstarters don’t have prior experience with producing goods. Sometimes, even the pros may get their share of difficulties, especially with the global market offering all sorts of possibilities, some in lesser quality than others. As such, if you’re considering a Kickstarter of your own, it is always a good idea to set everything into stone according to possible expends at a good, early time and calculate how much surplus you could possibly have, when something inevitably goes to south. Never kid yourself, it’s a rare thing to see something going 100% right with these things.

Of course, a designer has to mind all this while designing, at least on a surface level. For example, if a designer wins a design contest for a bracelet or similar, it is generally expected that the designer would also have readied information and plans how the bracelet could be best mass produced. A simple prototype might be handcrafted in a garage or 3D printed, but the finalised design that would end up in the store shelves would have to have a solid and a direct line from the manufacturers to the stands. It just may end being impossible to produce that bracelet with speedy manufacturing due to its geometry requiring specialised craftsmen working on it, or that it simply can’t be mass produced through general means. Sometimes, a product simply has to be made by hands from start to finish, though that’s increasingly rare.

Jewellery overall could be counted as one of the few fields where subcontractors are used to procure materials rather than readily made parts. Unless you count all the different kind of locks and readily made sockets and adapters, but to keep the more romanticised view, a jeweller would obtain the materials he needs, and does the rest by hand. Turning the wire into separate links to form a chain, cutting and polishing the stones into their shinier and more aesthetically pleasing versions and making all those interesting and beautiful shapes jewellery are known for. It just might happen that, in the end, even those are mass produced in a factory somewhere.

Nevertheless, this is a reality designers seem to forget at times. It is all well and good draw nice lines on the paper and then let engineers figure out how to implement the forms into a finalised piece, or the designer could cut most of that middleman out of the way and consider these elements from the get go. Conceptual designers of course live in the world of their own, as they are not expected to take reality into notion in any significant way outside the item having to be able to exist. Even then, that’s sometimes given a leeway when it comes to certain vehicular products.

This is where the skill of being able to calculate the end-price comes in handy, as a designer has to calculate the material costs, how much the production itself will cost, how much the transportation will cost, what’s the share the end-sales maker will take and add their own hourly pay into the mix. At this point the initial price is far less than the third. You’d think in digital world this would mean that the prices would be considerably cheaper due to some of the middlemen being cut out, like physical pressings and the like, but somehow titles on Steam always start at the same price-range as physical products.

Nevertheless, when does Jimmy considering the multi-partnership manufacturing? Probably when he is looking for new bulbs for his car, or some other part that’s easily replaceable, or when he hears that the part he is looking for is no longer in production, because for some reason the manufacturing has been stopped, and nobody is making that part anymore. Even then, Jimmy probably will only curse Volvo for not making that certain little thingamajig any longer, when in reality, Volvo just had another subcontractor to manufacture the part, or bought readily designed and in production part from somewhere else. In the end, no matter how much subcontractors they have, it’s only Volvo that the consumers see.

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Inspirational changes, Dead or Alive

Seems like every time we get a new Dead or Alive, something about it gets a rise from people to whatever direction.  For better or worse, DoA gets decent amount of press whenever a new entry gets announced, but mostly always for the wrong reasons. DoA Extreme 3 got marred in the press for both having cheesecake and for not being published in the Western regions, making it the best selling title Play-Asia ever had.

With the announcement of DoA6, you’d think things would’e been gone as usual. Well, in a way they did, with part of the consumers wondering what the hell was going on, and part celebrating titillation getting toned down significantly.  Because of eSports, of course.

Yohei Shimbori of Tecmo had an interview, where he states that the new DoA was inspired by American comics and movies. He wants people who play the game feel proud, as he puts it, while playing the game. Sidestepping the issue why should people feel proud while playing a game, the reason why things are changing in the first place is because during EVO tournament 2017 some of the DoA fans felt embarrassed. Whether or not these fans were the players or not is not mentioned.

The issue, of course, is how sexy the characters are. These fans they interviewed wanted the game to be cooler. The problem of course is, the game already looks cool.

Shimbori’s logic and source is sound. American mainstream cape comics certainly have moved away from showcasing the human physique in demigod form in favour of more realistic depictions and detailed suits, though at the same time the sales of these comics have tanked thanks to low quality of the comics themselves in general. Shimbori wanting to take inspiration from these comics, following similar path seems to be the right way, emphasizing on the suit fashion. While Shimbori emphasises on female characters, this is true across the board, especially with Marvel comics.

A major attraction for Dead or Alive has been its visuals and fun factor not found anywhere else. Taking that visual side away and replacing, for example, Kasumi’s now iconic outfit with an extremely generic blue-black full-body outfit looks lazy, detracts from her unique look in the gaming market and clashes with her intended original design. The cherry blossom petals and other moves don’t fit the character anymore, now that she’s wearing a supposedly more combat-sensible suit.  Let’s make a look at her DoA5 and DoA6 versions.

Wait, they gave DoA6 outfit high heeled sandals? While I may be talking about her iconic outfit, it was not her initial default outfit. It’s from completely different design perspective from the DoA6 design, and a direct comparison would be like apples and oranges. The iconic design doesn’t exactly render well in the modern style DoA is going for, as its intention originally was to be semi-cartoony to begin with. It clashes with the semi-realistic take. It would have been better to update that design rather than going completely away with it, as now we’re getting what’s supposed to be cool. Funny enough, if DoA6 is supposed to be less about the curvatures of a woman’s body shape, they failed. With skintight leather, it’s all about the curves. It may not be as sexy, but you might as well have her fight in black and blue body paint. It’s not exactly cool either in the sense Shimbori’s intention are.

Furthermore, majority of the DoA fans like the series’ aesthetics. DoA5 had a slight backlash against its style and take, but the dev team took this to their heart and tweaked things a little. Character models have been an issue with fighting games recently anyway, from banana hair and punched face Ken in Street Fighter V to pretty much everyone in Marvel VS Capcom Infinite, especially potato faced Chun-Li. However, DoA has always aimed follow the Virtua Fighter route with simple yet striking design, with their own flavour of fan service and certain level of risque that’s unique to it. In essence, one of DoA‘s winning elements has been its visual design that gives just enough glimpses with rather anything more. The sheer amount of outfits in previous titles has kept the players busy unlocking stuff as well.

The end problem of course is that DoA‘s fame and money has been made with Japanese influences, something the fans and core audience are attracted towards to. The loss of Soft Engine, an element that was part of the visual nature of Dead or Alive, feels cheap at best. Dev team’s emphasize on trying to make sweat and damage to be more a thing sounds more what you’d expect from a Mortal Kombat title. The audience that is there doesn’t want the game to look brutal, but to look beautiful. I doubt many Japanese fans want to see Kasumi’s face pummeled into mush, outside ryona fans.

There’s also the magical words of making the game more accessible, as mentioned in this IGN Live E3, with one-button combos to be a thing. DoA and VF controls have been the simplest out of all mainline fighting games, and simplifying them to this point seems like gimping it. Devs can claim that it simply adds a layer to the game, but that’s never been the case. It’s just to make one or two combos a constant.

This seems like a major step away from the series roots and nature. All this is ultimately to attract the expanded audience, or the audiene that considers the series problematic, sexist or otherwise offensive in content. The idea of expanding market is all good and fine, but not at the expense of the brand and franchise itself. At this rate, they should’ve rebranded the franchise altogether, or even better, start another fighting game franchise to run along Dead or Alive, much like how Tekken has Soul Calibur.

In the end, the devs are going to do whatever they want, eSports interviews and all. Perhaps the end battle of DoA5, where tacticafully black clad Kasumi fights her iconically clothed clone was a prelude to come. Forget exciting and interesting new design, we’re in an age of homogeneous coolness.

They could do better, but in the end, they’re bucking on already past trends.

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.

Review: Rev-O-Mate

When I purchased the Huion tablet for digital drawing and painting last year, an uncomfortable reality did set in; my large keyboard was more or less unusable due to the position of the tablet itself in front of it. Sure, I rearranged by table few times over to find new ways to access the keys, but ultimately the size of things simply didn’t allow much leeway, especially due to the screen size of the tablet itself. Hence, I had a need for something I could use as a helping device whenever I would draw, which I haven’t had much time for due to my dayjob. Learning something like this from scratch while having a lifetime of ways mixing with everything is hard to say the least.

Bit Trade One’s Rev-O-Mate’s Kickstarter thus came out at a good time. The device had the things I personally was looking for. Certainly a number of game keypads would’ve been an option, though everything about them seemed off. Extremely high price at points, unnecessary design elements everywhere, large size and lacking software at times, I was more than hesitant on purchasing one. Rev-O-Mate seemed to be all that I was looking for, a small device with complete freedom to customise its buttons to my heart’s content. All things considered, its simplicity should be enough to meet expectations. I ended up backing the base version with none of the bells or whistles added.

A small device that fits your palm, around 64mm in base diameter and 41mm height, or 2 33/64 inch w and 1 39/64 inch h. The weight is pretty spot on at 180g, when you take into consideration the extra 20-30g the cord pulls

First things first, the design and construction. It’s what you’d expect from a tightly constructed piece, with one exception; the wheel. While all the buttons feel extremely sturdy with their one-click nature, the large wheel on the top has designed looseness to it. It wobbles back and forth a bit. Most wheels of its nature have this wobble, but it does feel slightly cheap at first. When in proper use, its goes unnoticed, but its still there.

The wheel surface itself is machined, with the swirls on top and on the side. This gives it a nice texture, though the edges of the chamfer could have used ever so slight rounding, but this would have extended the machining cost unnecessarily. The base has a kind of spattered texture on it, giving it a distinct touch from the wheel. The base has a translucent bottom to allow lights shine on the sides, while having a cut spot for a good grip base. Just remember to take the plastic film off first. This surface will keep Rev-O-Mate decently positioned, unless the bottom is unclean or you exert further force on it.

The camera picks the light in a very different way from actuality

The cord gets a special mention for using being braided and being rather sturdy, it is something that companies usually save money in, but Rev-O-Mate’s cord is better than the standard.

There are ten buttons around the wheel, all which need to be customised before the device does anything. With three different sets of profiles, this brings the total number of buttons on the device to 33. The wheel itself is a button as well, which probably contributes to the whole wobbling bit. If we dedicate one button from profile change in each profile, that gives us thirty buttons for quick access, which is quite a lot. Each button have a damn fine tactile feeling to them, and the wheel’s button has a very satisfactory ‘thump’ to it.

The round nature of the device has a surprising benefit. It can essentially function in any position, the cord being the only obstacle. Whether or not by design or chance, its revolving nature allows the user to find the most suitable angle for the buttons for themselves, something game keypads don’t really allow. The buttons themselves are hard plastic, something that some may find slightly uncomfortable, especially with the two marked buttons. However, this is a better solution than rubber buttons on the long run, as they’re now sturdy and can take some beating.

I’ve dedicated the wheel button for profile change in each profile iteration

I always dread setting up these things, because I have no idea what I have need for, thus I end up setting buttons as I go along. These, however, are the initial buttons I set up from the very beginning. Each button, and the wheel itself, can be changed to whatever function.

As you can see, there are currently preset functions for the three most popular programs for illustrators and digital painters, or fuckups like me

This how the binding window currently looks like from presets. Bit Trade One is working on updating the software and firmware, and have rolled new versions already. Just make sure you’re using USB 2.0 or USB 1.1. Type A to connect, as it doesn’t seem to like USB 3.0 connection. Of course, creating a macro for your use has a separate selection.

As you can see, I currently lack any macros. If we were to make a macro of CTRL+Z, the recording would appear as such.

 

Seeing how the program records even the time span an input was held is unexpected but wholly welcome. This is as powerful macro creation tool as you’d expect and works with games as well.

The lights themselves can be customised from the top row with RGB values, giving them whatever colour you wish for. The teal I have there comes out as rather cold blue, as you can see. The lights change as they are being customised though, so you get an immediate response. You can also determine how long they’re lit up and at what point, or completely turn them off. There are three levels or brightness to choose from, and the images you see here are for the the medium, standard brightness.

 

The LEDs used run on unknown frequency, which you notice when you move the device around and observe the base. This frequency does not sync up with a camera at normal 23 to 30 FPS, making it look like the the base is on fire or trying to launch itself.

You can also have fun with an additional source of LED lights and cause further flicker

While I’m not very keen on unboxing, the box really came just with the device and few slips. Not even a preliminary version of the software on disc. Everything had to be downloaded from their website. While a solid cost cutting measure for sure, this does make the package overall feel a bit cheap. Maybe the retailer version will have an updated software bundled with it. The manual itself is very short, which is understandable as there isn’t much to talk about the device itself. The lack of different keyboard support is expected, though unfortunate. Most of the world will do just fine by having the US keyboard set up, though French AZERTY users probably will find it a nuisance.

The back of the box has some slight Engrish on it

All in all, Rev-O-Mate is what perfect in what its set up to be; a rotary device with macro buttons. I’ve also used it as a paddle controller with few Breakout clones, and it does its job in this part decently as well.

Review of the Month; Yakuza 6 Whisky Glasses

Yakuza 6 is out and its After Hours Premium Edition came with whisky glasses. The Internet’s full of reviews of the box already and what’s inside, most of which is a disappointment, I tell you. The book was absolutely terrible in quality, bound too early, causing the papers to be wrinkled and even glued together due to wet ink. Not worth your time or money. Unless if you want whisky glasses, maybe.

This review will go through all three aspects of the set; the coasters, the rocks and the glasses.

The coasters are pretty terrible. They may have a cork bottom, but each layer that goes to the top has low-quality adhesive, which means they’ll peel off pretty soon if they’re in-use. It’d be almost better to allow them to peel off, then re-layer them back with some proper adhesive. You get what you see above, which is jack shit. With that done, let’s move unto the rocks.

The rocks are honestly the most interesting bit of this set, mostly because it allows me to go on a tangent a bit later on. Anyway, each facet is 20.25 mm in width and length (that’s 0.797 inches). These are, of course, quick measurements with a caliper, and you’d probably get slightly different results with your pieces due to tolerances.

The set comes with two pieces, one for each glass. The material is black soap stone, meaning the hardness is around Mohs 2  and up. Depending how soapstone is treated, it can go up to 6.5 at best, but without knowing what soapstone this is and from where, it’s impossible to say what’s the exact hardness. Nevertheless, these will scratch rather easy, so treat them right and with a careful touch. Hardness does not equal toughness, which is why we get laughable stuff like Mohs 15 shield in Destroyer Classes in Muv-Luv Alternative, which just means they’re really, really hard to scratch, but that does not mean they’re tough. Generally, the harder something is, the more fragile it is.

Before taking them into use, I’d recommend washing them with a neutral soap and rinsing them in as hot water as possible, then quickly wrap in a towel. Due to amount of talc and the structure of soapstone, the hot water will evaporate due to the stone’s hotness and its own heat, drying the soapstone in a second. Works with any soapstone item out there, give it a go.

Anyway, the stones don’t really work. They’re too small to actually make a proper difference. Soapstone is great at keeping temperature, which is why they generally make good heat or cold plates. They do keep chilled whisky chilled slightly longer than usual, but against room temperature whisky the stones do jack shit. Waste of stone. Even the sandblasting is just skin deep. Considering how large the glasses are, the stones should’ve been at least twice as large with twice as deep sandblasting. Surely the glasses will be the set saver, right?

Oh for fuck’s sake

The thing I expect from a box that says Premium on the label is premium. What I’m getting is two-dollar custom prints on a mid-grade glass with a printed surface instead of sandblasted.  Kiryu’s dragon should have been laser printed unto to the surface at least, but a print? That’s just lazy, and just like with the coasters, the print will wear off in use. In time for sure, but this is really a bad first impression.

Well, it doesn’t help that the two glasses are not of same quality. You’d expect these glasses to be relatively straight, but one of the two have slightly collapsed surface and has a slight wave-like pattern towards the bottom, meaning it’ll screw with the flow of spirit. Not much mind you, but at this point Sega’s quality control and whoever was in lead with this package has completely lost me. There’s nothing premium in this package. Deli, whatever company you are, you should’ve convinced Sega to put more effort in this.

That said, Yakuza 6‘s glasses can at least hold more spirit than the one I bought from Scotland years back, or the Monster Hunter one I got from the Netherlands. I’m not saying I’ve been drinking before writing this post, but I have before writing. Gotta test the glasses with more than one spirit, y’know. It’s pretty good size for a milk glass as well, and it’s not too fragile. Its still cheap glass, can’t get around that.

As you probably surmised, the whole After Hours edition of Yakuza 6 is not up to the usual premium standards. The game’s damn solid and worth your time, but going above the standard edition is not worth it.

Guilty Gear Design comparisons; Millia Rage

One of the cast members of the first Guilty Gear, Millia Rage has been a fan favourite and a mainstay in the series for her fast, close-combat mechanics with few options for ranged attacks. In this way, she’s similar to Jam, but does not need to rely on wall bouncing and card stocking for high damage. Her most prominent design feature is Forbidden Beast Angra, her hair, which takes all sorts of forms as she attacks. Millia is named after the band Meliah Rage, and the hair probably comes from their constant use of skeleton of Meliah tribe member with the iconic Indian chief headdress. However, her most prominent and famous musical reference is her Instant Kill, Iron Maiden. She’s essentially a rock and metal band reference package, Winger, Emerald Rain, and even Angra are all band names. Millia may be easy to handle, but just like her namesakes, she hits hard.

With the intro out of the way, let’s get on the design business.

Xrd, Original, X and XX designs

Continue reading “Guilty Gear Design comparisons; Millia Rage”

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.