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; Combiner Core

Combining and transforming has been with the mecha genre at least since Kouji Kabuto’s Hover Pilder turned its hover wings up and docked unto the head of Mazinger Z. This is the first major example in the mainline media that shows two separate individual mechanical objects combining and forming one cohesive being, as small act as it is. Nevertheless, a Pilder is an inseparable element of a Mazinger in a form of another. However, Mazinger Z is not the first combining mecha, unless you belong to the school of thought that mecha is an umbrella term for all mechanical like it’s original intended use is.

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Kouji Kabuto becomes the brain within the helmet of Mazinger Z

Many would coin Getter Robo as the first combining mecha, but that’s not exactly correct either. It certainly can be said to be the first mecha that is formed by using three individual components that share equal amount if importance and space in the formation. Getter’s selling point was that all three fighters used to form a Getter had their own form in the lead. One Getter Robo thus has four configurations; three separate fighters, one for airborne fighting, one for land based and one to fight in water. This essentially translates into balanced, fast and strong forms. However, this power balance is not emphasized, as the balanced form gets the best attacks and most face time. The third form is most often wasted and almost practically useless.

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I love using this .gif, so sue me

Often a forgotten, and probably the first example of combining robots in how most think it as, is Gadem from Tetsuwan Atom. Gadem was a giant mechanical centipede formed from 47 individual androids. The reason Gadem doesn’t trump Mazinger Z is that Gadem’s a Monster of the Week, something that’s interesting for that one episode and then passed on. You don’t seem Gadem combining in the opening every single time.

The original Tetsuwan Atom is so much fun

The reason I wanted to go through this very short history of combining mecha first is to portray that much like with other things when it comes to designing mecha, there is no set rule as such. There are trends and styles that one prefers over another, and if you were to design your own combiner, the best way is to look what has been done, and then research real world mechanics how things are fit together. However, the real world doesn’t exactly have the highest amounts of combining war machines, e.g. there are no tanks that can form a big supertank, and thus we’re “limited” to our imagination and what we know of real world mechanics.

As with transforming mechas overall (most often a mecha needs to transform in order to accept other components of the combination), the design can be done so that it looks somewhat realistic in the sense that it could be realized e.g. in toys. The above example of Mazinger Z and Pilder combining is incidentally relatively realistic, despite being coined as the first Super Robot. There is no warping or the like. It’s a craft docking, landing, combining, whatever word you want to use, with a surface designed to hold the Pilder in place. We can question the design and all that, but it might as well be a spacecraft docking with a station or helicopter landing and locking itself down unto a carrier.

Getter Robo’s combination and subsequent transformation (the fighter are required to transform in order to take the shape of the robot) are no-sense kind. There are some indications what part ultimately becomes what, and we’ve gone this over before.

From here we can roughly split combining mecha into three styles. First would be vehicle combiners, where a giant robot is formed through combination of vehicles (or animals). Super Sentai tends to favour this the most above all. Second would be humanoid combiners, where humanoid shapes are first transformed into appendices or similar in order to complete their gestalt form. Despite Transformers having two forms most of the time, I would drop them into this category due to the fact that their main form, in the end, is their humanoid one. Their Alternative mode is the one they disguise themselves into, after all. Lastly, there is non-humanoid gestalt, where either vehicles or humanoids form up a combination result that isn’t a giant robot but something else.

Of course, there is also equip-combination, which is more or less one whole mecha gaining an extra pound of equipment of on top of itself. This is separated from the the aforementioned because it doesn’t create a new whole in itself; it’s just a mecha putting a jacket on, if you will. An example of this would be Sonic Convoy from Transformer: Galaxy Force.

Is this some new level of geekiness from this blog now that I’m referencing Japanese original version of Transformers Cybetron?

Each of these approach really would garner its own post with examples, as one combination style has quote a lot of stuff to go into. As such, maybe this post is best to take as a prepper for possible future expansions.

One thing that the designer of combining robot has to keep in mind is that it needs to be cool, no matter the approach.

A combination that has no tension behind it, no emphasize or meaning, lacks impact. Within fiction combination shouldn’t be treated as something trivial. Even in Getter Robo the combination plays important role with switching between forms and dramatic evasion manoeuvre. Even when combination becomes a common occurrence within fiction it has to leave some impact. Transformers has made offence of this few times over, but as long as the gimmick of combination is treated with respect, it works well as a dramatic device.

To use an example from the aforementioned Transformers, Combiners are almost always stronger than any other single character within fiction. A Combiner is the sum of its parts in pretty much every regard, and thus can change the tide of a battle on its own. To see a Combiner parts on the field should fill a soldier with fear or anticipation. Perhaps the most proverbial Combiner (not to mention a sort of classic example of modern humanoid mecha combiners overall) Devastator is the poster child for what it is to be a Combiner in Transformers fiction. You let Devastator loose on a field and follow it from afar how things just get devastated. Afterwards Megatron can always command its components, the Constructicons, to build something new. Treating Devastator otherwise would cheapen the fiction, character and the concept. Incidentally, Devastator’s intelligence is not the sum of his components, but who needs smarts when you have strength?

A local question

Astro Boy, Gigantor and Eight Man are classic shows that have a place in American pop culture, even thou Eight Man is probably the most forgotten piece of the bunch. This was the 60’s, and a cartoon with robots flying in the sky, high-speed androids and robot boys fit the era fine. From what I’ve gathered from what people who grew up with these shows, nobody questioned their origin. They were entertaining shows on the telly and that’s all that mattered. I’d throw Speed Racer into the mix as well, thou it arrived just a tad later to the mix, but met with the same treatment.

Video and computer games have a similar history, all things considered. Nobody really cared where from arcade games came from, they just rocked the place. Not even the name Nintendo raised some eyebrows, it was just some exotic name cocked up in a meeting. Pretty much what Herb Powell did in The Simpsons.

Games had a shorter gestation period than robot cartoons when it comes to finding the source to some extent. US saw the mid-1970’s Shogun Warriors, a toyline that used wide variety of toys based on Toei’s show with some changed names to fit better the American market. The NES era is relatively infamous of its localised games, and much like how American reception of these Japanese cartoons ultimately was felt back in Japan, so was the localisations and changed made to games. Perhaps the best example of this would how Salamander became Life Force in its arcade re-release and effectively became its own spin-off from the base game.

This, of course, has been largely in America. Europe is a bit of a different thing, with France, Italy and Spain having their own imported animation culture to the point of Spain having a statue for Mazinger Z. I remember reading about a tennis comic that a French publisher continued after its end in Japan. This was done by hiring an illustrator who could replicate the original style and saw healthy sales for a time. Something that like probably could never happen in modern world, unless the original author has died and has made it clear that continuing his work is allowed. Somehow I can see titles like Mazinger  and Dragon Ball still gaining new entries to the franchise long after Go Nagai and Akira Toriyama have left for Mangahalla.

Sadly, I am not as well versed in pan-European phenomena when it comes to Japanese animation in the Old World, but there are numerous resources in both online and book format, often in native tongue. Perhaps worth investing time into for future entries.

While things like Robotech and Voltron made their names around the American landscape, the 1980’s saw a growing appreciation for the original, unaltered footage. This was the era of Laserdisc, and people were mail ordering cartoons solely based on the covers. Can’t blame them, LDs tend to have absolutely awesome covers. Whenever these shows were shown in a convention, a leaflet explaining the overall premise and the story would be spread among the visitors or a separate person would enter the stage and give a synopsis of the events on the screen. There were those who felt, and still feel, that localisation demeans the original work.

Similarly, game importing became a thing in the latter part of the 1980’s and in the early 1990’s with NES’ success, though it should be mentioned that Europe saw PC game importing across regions far more. The Nordic countries began importing NES games anywhere they could and specialised mail service stores popped up just to service this part of the population. It wasn’t uncommon to see Genesis and Mega Drive titles sold side by side in-game stores. Appreciation for the original game saw a rise, either because of it was simply cool to have shit in Japanese or from America, or because some level of censorship was present. However, more often it was because Europe was largely ignored when it came to releasing certain games. Importing unavailable games to a region is still relevant, perhaps even more so than previously now that companies are investing in English releases in Asian versions and region free consoles are becoming an industry standard.

The question I’ve been asking myself for a long time now, longer than I’ve been writing this blog, is that whether or not wholesome localisation like Space Battleship Yamato and Starblazers was a necessary evil of the time that we can be do without now, that we are grown culturally to accept the original work as a whole, or whether it’s just hubris of the people who are too close to their sub-culture and co-fans. A person who is tightly knit with music’s sub-culture doesn’t exactly understand the sub-culture of pinball or golf.

By that I mean that pop-culture in general doesn’t give jackshit whether or not panties are censored in a video game, it’s irrelevant in macro-scale. Even in a localised form a product can impact pop-culture in ways that the original couldn’t, the aforementioned Speed Racer and Robotech being highly impacting examples in American pop-culture. I guarantee that these shows would not have their impact without the localisation effort.

Is it a necessary evil then? Perhaps this is the subjective part with no answer. Those who value original, unaltered product without a doubt will always prefer the “purest” form of the product, whereas someone who doesn’t have the same priorities will most likely enjoy the localised version just as fine. It would be infantile to assume that people who don’t know better can’t appreciate the original piece or lack in intelligence somehow. It is merely a matter preference, and like assholes, everyone has one.

If it matters, I personally vouch for unaltered products whenever applicable for the sake of keeping the integrity of the product and the intentions of the creators intact. However, also see complete localisations having their valid place in e.g. children’s cartoons. While it would be nice to have two or more versions of everything for the sake of options, that’s not always an option for budgetary, marketing or some other reasons.

Perhaps that’s what could be argued; when it comes to Western culture, we are more acceptable to unlocalised products more than previously, but total localisations still have their place. Even without knowing much about the source, we can appreciate the intentions and look past the cultural difference.

Or at least we should be able to, and appreciate the differences and intentions without resorting to raising a hell for nothing.

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”

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

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

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

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

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

Music of the Month; Airport

What, did you expect something Christmas themed this year? I’ve been on a Gundam W mood lately, been popping this in from time to time

So, what should I discuss this time? Things haven’t changed since last Music of the Month, so there’s that. Busy, tightly scheduled and all that. On top of all that, my apartment saw a water damage from one of the new pipes they installed, meaning I had to move to a new place for the time being, thou luckily I didn’t have to move all of my stuff. Then again, all my books, materials and whatnot are now in the apartment in the middle of being fixed, meaning I don’t have access to planned things and so on. Sucks to be me, I know.

On the flip side, the Director’s Cut patch for Muv-Luv on Steam got released, and you non-backers can pick it up from Denpasoft, if you’re a dirty old pervert like me. Feels like I’ve been talking less and less about Muv-Luv in general, but not by choice, not completely. I would like to write more about the franchise, but I always want to use time to form up something worthwhile. However, time’s a luxury now. The same could be said of my certain mental facilities, but that’s a story for another time.

Anyway, because I can’t read Schwarzesmarken as I am now, the TV-show’s review has been delayed. Because it took me a year to roll out a review of sorts for Total Eclipse‘s TV version, I’ll aim to rewatch Schwarzesmarken during Christmas and new Year’s holidays and roll a similar entry out around January. Much like with Total Eclipse, it will be taken as-is as a separate entity without ties to the source light novels or the VN. We’ll see if I do anything about the VN yet, which is probable to some extent.

In terms of video games for the year, I’ve already compiled a list of preliminary Top 5 of 2016, like usual, but now that I’ve looked back, there’s a not a whole lot I could do a mini-review out of. However, there should be at least two surprising entries on the list.

Speaking of lists, I waged through The Game Awards and it was terrible. The show was terrible to begin with. They had dedicated more time towards ads and skits instead of talking about games themselves, the choices of award winners and categories were questionable at best, not to mention when people on the stage also had their hands in selection and creation of games, mobile and handheld games lumped in the same category and again all Japan-only games were ignored. The show has become terribly irrelevant to the consumers and is nothing less than industry wanking itself off.

There are no plans for this month, I’m afraid. That means pretty much all posts that you’ll get for the time being will be rather ex tempore, which might affect their coherence, I’m afraid. I do have few idea nuggets polishing in the back of my head, but nothing that could kick off a Monthly Three. Unless you want me to talk about welding. Perhaps for 2017 I’ll plan each month’s themed entries out beforehand and start working on them as soon as possible. Whether or not that would be preferable is something only the readers can answer. Then again, if I write around eight entries in a month, six of them would be themed; Monthly Music, three Monthly Threes, a review and a mecha design post. That’s not a lot of room for other stuff if I want to keep this two posts per week rhythm. A second pair of hands would probably do this blog some good.

This month’s proper review will probably the Dual Shock 4 controller, because I caved in a picked myself a PS4 for some of the upcoming games, including Super Robot Wars V. That reminds me that at least one subject reserved for this month is BanCo’s Asian English translations based on Super Robot Wars OG Moon Dwellers and SD Gundam G Generation Genesis.

And oh, Drill Juice is doing Getter Robo Pai, a mahjong themed Getter Robo comic. Being a fan of all three, I expect it to be titillatingly bombastic. Here’s hoping they will make a proper mahjong tile set based on the comic, I could use a new set.