Plane elements in Tactical Surface Fighters; MiG-29OVT Fulcrum

While we’re probably going to discuss the base MiG-29 Lastochka one of these days, the main reason we’re going to have MiG-29OVT variation on the table today is because it had a significant antagonist role in Total Eclipse, and that I had the pictures readily available and didn’t want to do Active Eagle.

To save most of real world MiG-29’s history for Lastochka, I’ll shorten it here and see what we have on the OVT model. Which isn’t much, but we’ll get to that later. One of the major differences between the real fighter and the TSF is that all MiG-29 variants are known as Fulcrum in the NATO designation. The Soviets and Russian pilots adopted this name later on. NATO just adds a letter and a number after the designation to denote which variant we’re talking about.

The Fulcrum has a long history behind it. The fighter was developed in early 1970’s as a hi-performance, hi-manoeuvre light-weight fighter to tackle whatever the West was cooking against the Soviet nations. Indeed, it’s not rare to see enthusiasts to decree the Fulcrum to be an equal to Western fighters, especially due to it incorporating numerous technological advantages not in its Western contemporaries, the F-16 Fighting Falcon for example. The base model, Fulcrum-A, became operational in the mid-80’s and had a very high manoeuvrability. It could track ten targets at the same time with its cohere pulse Doppler radar at a range of 69km. Combined with a laser range finder and infra-red search and track, which all where linked to Helmet Mount Sight, made the base Fulcrum a very dangerous enemy in a close-in fight. It should also be noted that the Fulcrum has LERXs, or leading-edge extensions on its mid-mount swept wings. These small extensions improve and control airflow at high angles of attack.

The 29M and OVT are both Second Generation fighters and have enhancements everywhere, including evolution to the overall airframe in order to increase its thrust-to-weight ratio. As OVT is essentially just Fulcrum-M with thrust vectoring RD-133 engines, it shares all the same advanced avionics its brother does. To go slightly into the history of the Fulcrum-M, it’s development began in the mid-80’s with a new need for a frontline fighter that would be able to carry out multi-role missions. Due to shift in Soviet military strategy, the Fulcrum-M design saw constant updates and variants before it eventually split into MiG-29M and M2, denoting whether or not its a two-seater. It should be noted that the MiG-29M, despite sharing its name with its original variant, is completely redesigned version. External differences may be sparse, pretty much everything else was improved beyond the Fulcrum-A.

MiG-29OVT is more or less an acrobatic performer that mainly showcases the modern MiG-29’s capabilities rather than being a frontline fighter.

Remember to click for a larger version

In Muv-Luv Alternative‘s BETAverse, the Fulcrum is a given name to the advanced MiG-29. Based on MiG-29 Lastochka and shared technology gained via Project Prominence, the MiG-29OVT is an advanced variant that is supposedly able to go toe-to-toe with the American F-15 ACT Active Eagle. Changes from the earlier MiG-29 variants include upgraded avionics, improved Jump Units, Light by Light and redesigned shoulder blade vanes.

To reflect the thrust-vectoring capabilities of the real world OVT, the TSF OVT now has added thrusters in the shoulders and hips. This supposedly gives it 3rd Generation level manoeuvrability. It carries Blade Motors from earlier MiG-29 variants in its arms and legs, as well as the A-97 Assault Gun. Being on the side of close-combat, Fulcrum pilots tend to favour brutish tactics and acute-angle attacks on the enemy. One might even assume that the Fulcrum showcases the changes in Soviet’s doctrine against BETA and human targets.

In terms of design, the MiG-29OVT shares more with its in-universe brethren than with the real fighter. It’s chunkier than blockier to keep in-tone with the rest of the MiG-29 series. Similarly, while the MiG-29 has rounded and smooth corners to it, the TSF design has opted to angularise itself in many cases, like with adding more corners to the wings and fins. There are surprising amount of included elements from the fighter in the TSF, albeit the TSF elements govern the overall look of the unit.

There would have been few points that the MiG-29 could have stood out overall. The fighters are unique in that their intakes and nozzles, indeed almost the whole department, resides under the fuselage. The pilot also sits very high in the cockpit. Neither these aspects carried into the MiG-29 line. However, perhaps the TSF elements again override the fighter design points in this case.

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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.

Mecha design; From cube to humanoid

The previous post about mecha design was all about the basic ideas that yours truly tends to use when it comes to transforming or shape changing robots. As mentioned, they are not definitive and many would probably contest them, but they work just as well. However, all transforming mecha follow one essential thought pattern most of the time; from inhuman shape to humanoid shape. This shape can be whatever. Cars, planes, guns, dinosaurs, trains… pretty much everything has been turned into a robot. Hell, there used to be a saying on imageboards that the Japanese can transform anything into a mecha if they just want to. Of course, there are those that simply change utility shape between modes and never become humanoid. These are relatively rarer in scale of things, but the overall discussion follows the same pattern overall. You have a shape that you want to force into another.

The title of this post is misleading. The term that I should be using is cuboid. However, I am going to break any and all good language practices and keep mixing cube and cuboid to label any cuboid shapes. This would an example of marketing of sorts when you get down to it, as many companies want to use cube in a similar sense. Nintendo’s Game Cube being one, with it being a cuboid even when the Game Boy player is attached.

As with any matter like this, there is no one correct way to do anything. The examples here are simply just for the sake of examples and being as simple as possible. Expanding on basics and building on them is really the only way to get around.

The core idea is to take a cube and “spread” it to the similar breakdown as human would be, if we’d draw human with simple geometric shapes.

Continue reading “Mecha design; From cube to humanoid”

Three approaches to transforming mecha designs

Unfolding, folding, opening, twisting, turning, exposing areas and revealing hidden parts is basically what mecha transformation is all about. There is no one way to do it, and the sheer amount of examples there exists eclipses the scope I’m willing to work for free. To tackle transformation schemes in general requires part problem solving and part puzzle making in a nice balance, where a irregular shapes can be turned into e.g. a humanoid and vice versa. By first introducing this sort of base idea of categorizing transforming mechas into will give some foresight how I’ll tackle the subject down the line.

Much like Three approaches in mecha design (which will be rewritten at some point this year,) I tend to employ a similar template for transforming mechas specifically. These three are not necessarily connected to the three initial approaches as some sort of rule, but they do work under them if you’d wish to make a transforming mecha. These might help you to lock down your approach better. This post can barely scratch the surface of it all with the given limit I’ve set to myself.

The three approaches in transforming mecha design are Fantastic, Toyetic and Realistic. As with previous, there are overlapping elements with each of the three and can be even split into sub-categories if necessary. Examples of Fantastic transforming robots are all the outright impossible ones in any form outside animation and movies. Getter Robo and Gurren Lagann are probably the best examples, where thing just fall into their place and morph into new shapes. Mass shifting is nothing short of expected and even mandatory.

Continue reading “Three approaches to transforming mecha designs”

Music of the month; Lilia ~Winter Version~

Let’s dedicate this post to the changes that I need to make things viable again and what that means for my own time use and this blog. First, I won’t be dropping the two posts per week pace, that’s something I won’t back out on, unless something significant keeps me from doing it. The reason for this is that realistically I can’t make a living in my current profession. Craftsmen are not valued to any significant extent and their craft or skills are face the same end. The same tends to go towards designers across the board, and if you can’t make the right connections, there’s not much you can do. As such, I’ve taken a drastic decision to re-educate myself for a profession where I can utilise my previous experiences. To what exactly is something I will leave for the time being.

This means I don’t have much time in my hands. The aim is to go through three to four years of studies in one. That is stupidly fast pace, which requests me to concentrate my efforts and resources elsewhere. However, the nature of this blog won’t change too much if any because of this. Rather, I expect it to add further depth as I get more familiar with certain aspects of… well, that’s the open bit for you.

This is also the reason why there has been no new podcast for some time now. Not only the translator staff is busy at their own with both Muv-Luv related matters but also with their personal stuff. Juggling the schedules together has become exponentially more difficult, and sudden changes in what happens and when will become a daily thing to yours truly, at least. ARG is not killed, it’s just biding its time. The same thing really applies to the idea of my voice blogs, as I noticed that producing those in the way I’d like them to takes about four times longer than just writing. Maybe I should just do a stream of thought without a script, but how that would come together nobody knows.

Winter’s arrived here, meaning that while snow is still a scarce, cold weather has arrived and things slow down to take things with certain sure and safe pace. It also means Schwarzesmarken‘s second VN has been released, which means I can read both VNs in one go and watch the animated series. I’ve pushed the whole review thing back for almost a year now because I want to have a proper perspective on both of them without being influenced by hype or other views. Needless to say, both the VN and animation needs to stand on their own two feet, and comparisons between the two can be made. However, it should be noted that the two were made based on the Light Novels, which essentially served as a base script more than anything else. The animation changes things around to fit in the allotted time, while the VN has a lot more time and space just to dwell into things. That’s just the nature of the mediums.

There was no Monthly Three last month  as those take a lot of reading and planning. It may not seem like that, but they really take their sweet time to come together, and I usually plan all three parts in one go. Exceptions happen, of course. The same applies to the whole mecha design things. I do intend to write a TSF comparison this month, which will also serve as the month’s mecha design post. I haven’t decided which one, I need to check what images I have in stash and what I can get. However, for the time being, I do not intend to force myself to do a Monthly Three, unless a subject pops up towards me. Of course, I could use that for the mecha design stuff. Speaking of mecha posts, the post Three Different Approaches in mecha design will get a complete rewrite at some point in the future, and the old one will be replaced with that. However, I will archive that older version for future.

I will most likely insert few personal posts about games on smart phones. This is because my old Nokia finally went bust and I had to purchase a new one. This post, or posts if I end up making multiple, will be observations about mobile gaming in contrast to e.g. handheld console gaming.

I admit that lately this blog has not been up to the standard I’d like to think it has stayed at for a long time now. A lot of news and events that I wanted to write about have come and gone, but my time and simple stamina have been used to a more pressing matters. As said, if I were paid to write, I’d take this more seriously. This is more or less a hobby. Sometimes it stresses, sometimes it feel almost cathartic.

For now, I’ll have to leave you with this, despite it leaving me with a lacklustre feeling. I need to fix my tyres, somebody had slashed them the other night along with seven other’s.

Mecha design; manipulators

Consider your hand. You control all those 27 bones through muscles and tendons. The nerves give you feedback and send your commands down the like, commands that you are not even conscious of. Twist your hand, and you see it twisting. The large muscles come through the skin, but all the fine motion is lost unless we specifically look for it. It can grab and hold things in a wide variety of positions and ways, some that we don’t even know before someone else teaches that. These hands can build and destroy in equal amounts, they are our the tools of our creations.

Transferring that to a giant robot is a bit of a hassle.

Much like with a lot of other direct transfer elements with human body and giant robots, adapting hands 1:1 is an easy concept for sure. The idea of similar multi-use manipulator is attractive from the get go, but depending on the setting, human-like hands might not be the best option. A human-like hand requires far more parts, development, maintenance and simple tech than a say a pincer or more simple manipulator. Of course, the main argument for having a hand for a giant robot is its versatility, especially when it comes to weapons. However, that’s something that could be easily done with hardpoints where weapon is being mounted. We should also question how versatile does the hand of a giant mecha be, especially for a war machine.

Broadly speaking, all human-like hands with mecha follow the same basic idea, there isn’t much deviation. It’s either smooth or cubic. Using this example from a VF-19 serves as a good showcase.

VF-19 hand

While it looks complex, it’s more about the layered elements that make it look complex. Inner functions are of course barely thought, they’re not important. The fact that it looks like it could work and has plausible design elements, like the knuckle guard and fingers’ segments layer on top of each other when bent, is more than enough. Studio Nue has always preferred rounder elements to their design (sometimes dubbed as Bubble hands), especially with their older works. In Gundam, Sunrise and Bandai have preferred using more cubic hands, although exceptions are aplenty.

Gundam MS fed manipulator

The above generic Mobile Suit manipulator was designed for the models, but seeing how Bandai and Sunrise design their mechas models in mind nowadays, it’s a good example of a hand that’s more or less designed for wielding a gun and a beam sabre. It’s a bit more straightforward than VF-19’s, less well-rounded. The question of course is, if this hand is largely made for weapon carrying, why isn’t it designed as such?

The answer is, of course, because of Rule of Cool. When mechas are designed as characters, they’ve almost always given large amount of human characteristics in order to showcase dramatic events. Hands are no different in this. Beam sabre battles would be less dramatic and interesting if the manipulator would be specifically designed holder than a hand.

Controlling a hand like this has basically three options, direct 1:1 input, control macros or brain wave input. Variations and combinations do apply. While a “glove controller” would be idea, that’s pretty much what you do then with that arm. It’ dedicated for that arm, and the rest of the controls are either automatic or left other arm or legs. We discussed control macros previously, and this is most likely the best option overall, if brain wave scanning tech is not available in your setting.

Designing mecha’s hand really isn’t anything hard; just look at your own and mechanise it. Give it details for something to grab attention and some panels for easy access.

Giant robots don’t really have a need for similar level of sophistication when it comes to their hands, a simple grasping arm should be enough with some level of modification to suit the needed purpose. Hardpoints add a lot of versatility as well.

These take less maintenance and production costs would be lower too
These take less maintenance and production costs would be lower too

Of course, fiction doesn’t need to play by the rules of reality all that much, and if technology is advanced enough in a fiction to produce these things, why not? They could of course build better and simpler manipulators, but sometimes you do seek more complex solution for the sake of all the options it could give you. A gripping manipulator above doesn’t really offer many ways to grasp a thing.

Some franchises mix human-like hands with specifically designed manipulators, Muv-Luv popping to my mind foremost.

To be fair, this is complex for the sake of being complex, some of these steps could be dropped
To be fair, this is complex for the sake of being complex, some of these steps could be dropped. It’s a pretty good example of a very specific manipulator arm that works in junction of the main hand, something that I personally would like to see done more

Another one would Mobile Suit Z Gundam‘s The O with its assisting manipulators underneath its skirt. These manipulators question why would The O even need human-like hands, when the three-prong manipulator does everything they do. The answer to this is, of course, because the human design does not use that sort of hand. In a way, mecha in general should always be contrasted to armoured knights of legends, but that’s another topic.

Hands are ultimately something that Japanese inspired mecha design does. For giant robots, America has always preferred more built-in options. MegaBot’s Mark II is a good example of this.

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American vision usually attached the weaponry onto a pre-fixed arm that may have some freedom of motion to it, but is always more dependent on the movements of the main body. Compare this to Suidobashi Heavy Industry’s Kuratas and the difference in approach is notable.

The idea of having this built-in approach and lack of manipulators is just as valid.  While it lessens on-the-fly options and puts some limitations, it eliminates loads of moving parts that would require maintenance. The most prominent film example of this sort of thing would be our good old friend, ED-209.

I should probably write a whole entry on ED-209.
I should probably write a whole entry on ED-209.

Unlike with mechas with arms and manipulators, you can see ED-209 guns are its arms with no manipulators, as it needs none. It’s a robust little connector that looks sturdy and serves only to take the beating from the cannon’s recoil and swivel enough to shoot whoever full of holes.

Keep an eye to hands you see in mecha films and shows. Take notice how they are portrayed and how they function. Rarely you will see them doing things outside the capabilities of human hands, and showcasing how they are actually controlled is even rarer. Sometimes they take advantage of what a machine hand can do, like how Gundam washes clothes by rotating its wrist 360-degrees in repetition.

Washing machine Gundam

Mecha design; organic vs industrial

While organic vs industrial design is relatively dry-cut most of the time, I do feel that it’s a subject that needs to be touched upon to give further idea how to put some twists to whatever giant robot you are making.

Most Japanese mechas have a level of organic in them in form of general humanoid shape, but organic design is more about bio, about the smoother, naturalistic lines. This is of course contrasted with harsh corner and straight lines in the design that are almost innately machine-like, produced by human industrial forces instead of nature. Something like a tank or a car can be fully inorganic in design, but more often than not, elements from nature are applied to make it more pleasing to the eye.

There is a constant middle ground between the two, but it’s not exactly biomechanical. Gradual change between organic and mechanic design in giant robots has more to do with the base of general visual, while biomechanical is straight up combination of the two in harmony. There’s also techno-organic design, but that’s sort the same thing. It just has slightly stronger emphasize on the technological side rather than having the two governing together.

To use actual art an example of organic design, Art Nouveau is by its core is tied to naturalistic growth and style. It’s a direct contrast to the industrial style. For example, Gustav Gurschner’s Lampe Nautile, Vers 1899, exhibits the basic loose roles for organic style.

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The rules are not hard, and I’ve effectively already mentioned them; curved, flowing, natural. There are no real harsh corners anywhere on the lamp and no visible connection points. Instead of steel gray, earthly bronze was used combined with the pearly look of a shell. From visual side of thing, go check Alfons Mucha, my personal all-time favourite.

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That’s the stuff

To directly to Art Nouveau, Bauhaus’ had many core industrial designs that still affect how things are made, produced and designed. An industrial design is rather the opposite to organic, leaving less room for the organic growth and cutting the chase.

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This 1930’s Bauhaus desk lamp shows some of the core elements in the rules; unapologetic in simplicity, not hiding joints or the fact that the form follows function and not the other way around. Rather than an earthly bronze, steel shine is applied to the piece with a brass joint at the base with a white baccelite switch. Even the switch is emphasized with a slight raiser from the base.

The two lamps both would serve in their function as a light giver, but the other fits for more moodier lighting, while the other is more a tool for office use. This relative idea is apparent in mecha design as well.

Aura Battler Dunbines Aura Battlers most likely is the well-known organic mecha from the 1980’s, based on Yoshiyuki Tomino’s work and ideas.

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Dunbine’s appearance is based on a humanoid insect. It has a largely curvy body with visible bone white claws. While its colouring isn’t anything out of the ordinary, considering the time, but one of the main points it has for it are the yellow insect wings it has on its back. All that gives is a distinct feeling from previous Tomino’s works, all of which largely used industrial cubic shapes.

Another 80’s mecha that is more or less organic in design is Iczer-Robo.

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Iczer-Robo is a relatively early example of a bionic being, composed of both mechanical and biological components. It’s outer appearance has flowing smooth lines, but do carry certain industrial vibes. It is between the two, but inside it is very much organic. We even see Iczer Sigma’s birth in the series in a giant tank without any of its armour, basically saying that Iczer-1’s robot are not as much build as they are grown. In many ways, Evangelion’s concept of having an organic being in an armour restraints controlled by a human inside a cockpit surrounded by a liquid is nothing new, as Iczer-Robo did it first.

To directly contrast Dunbine, let’s go with the King of GMs, Ideon.

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Ideon is such a strange design at first, especially when you consider it is formed of three separate units. At first, it’s not particularly pretty mecha to look at, but it grows on you. It’s follows the archetype of a blocky mecha as its body can be broken down to cubic geometrical shapes very easily. Drawing a very rough sketch with just boxes is very easy and good practice. It’s completely opposite to Dunbine’s shapes. Some years later, Makoto Kobayashi actually designed and built an organic Ideon model, and while that is more directly organic being, the contrast is striking.

Biomechanical

The contrast between the two is striking, but both are the same core design, just in different style. Not only did it lose pretty much all of its boxiness, but also lost mass here and there. Some elements were changed to fit primordial god theme slightly more, which is evident of its slightly grotesque appearance. Plain red was replaced with broken, earth red instead with the occasional blob of light grey and bright red at joints.

Maybe one of the most famous industrial looking robot in sub-culture is the one that was designed to look like an American car.

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Robocop‘s ED-209 is an exceptional example of industrial designed mecha. It’s form follows the function and nothing is really unnecessary. The joints look robust and strong, mechanical. It’s colour is largely that dull gray with a blue hue with black governing top of the main body, red are spared for wires and weapon bits. Steel grey is evident from bits that require to look like bare steel, and you have that yellow-black striping showing what parts to be wary of. It’s a hulking beast that doesn’t have softness to it despite having curves. They’re all cold and designed, rather than organically stemming from the body. It’s a terrific, iconic design.

Of course, there are a lot of things you can do between organic and mechanical design, not just in looks but how the mecha act and move. Zoids are largely designed to look like industrial machines, but their organic nature comes from them acting like animals instead of machines. Shield Liger for example moves like a real big cat and all the joints and the like are designed to accommodate this despite it’s overall industrial look. Just look this PV of MasterPiece-01 Shield Liger and how they made the model itself move.

I’m rather impressed on how they got the side parts to move like it was breathing or moving muscles around

As you can see, you can mix organic and mechanical together rather large degree for various kinds of effects. Just like with every other post in this mecha design series, the best way to look into this is to study actual existing examples. For organic, it’s the body structure and shapes of real life creatures that you could use to make a giant robot. For industrial design it’s much easier, as there are numerous books going over that topic.

Real world is a very good source for examples to learn from, instead of looking into existing mecha design. Modelling a mecha after something real and giving it a mechanical twist, but perhaps in an organic fashion, can lead to interesting and great designs. Or just nab a fighter jet plane and use its elements to make a whole tech three of giant robots.