Recently I discussed a matter relating to translated terminology in Muv-Luv, mainly about if the term Melee halberd is valid when it comes to the weapons used by the TSFs. Let’s get the base out of the way first.
In Japanese, the characters used for the combat weapons is 近接戦用長刀. A straight translation of this would be something along the lines of Naginata for Close Combat, which is weird as hell. The 長刀 causes problems and is read as naginata in Japanese, but when Japanese want to be fancy they often use the Chinese way of reading, sometimes using Chinese characters too. In Chinese 長刀 is read as changdao, a type of long sword, thus the correct reading would be Long Sword for Close Combat, or Close Combat Long Sword, whichever you prefer. In Muv-Luv, the main sword the Japanese use invokes the type of sword a changdao is.
Misnaming Close Combat Long Sword as Melee Halberd is sort of understandable, if you don’t check the Chinese meaning of the kanji. Even then, the Japanese naginata’s kanji is 薙刀. Whoever decided to call the swords are halberd was not on the ball.
I’ve searched through some materials, and there really isn’t anything about Melee Halberds in plain old English as such. If I have missed an official translation for it, it wouldn’t ultimately bear much weight. âge’s English is less consistent that you’d want to believe, and the whole debacle about what to call Surface Pilots showed that some things are just thrown in to sound cool. Nevertheless, their Japanese naming for the close combat weapons are consistent across the board.
The term Melee Halberd simply put it, a mistranslation and is something that should be fixed to represent the weapons better. Due to having an axe in the crowd, calling them swords outright would be a misnomer. In a recent discussion with Gabgrave of Alternative Projects, terms Close Combat Blade or Melee Combat Blade were pitched to replace the erroneous Melee Halberd. The cause is supported by the fact that, for example, Integral Works calls them as swords outright when discussing about Mounts.
There is one item that is called a Halberd-type Close Combat Long Sword, and it is the BWS-8 Flugelberte in IW.
Those who know your historical weapons well or were blade buffs as I was as a kid, you’d recognize that the BWS-8 does not fulfil requirements to be a halberd. A halberd is a two-handed pole weapon first of all, and the BWS-8 is intended to be wielded with one hand. Secondly, the BWS-8 is too short to be a polearm, mostly due to the aforementioned reason. Thirdly, any and all Close Combat weapons lack the necessary parts to be a halberd. It’s just a really slim battle-axe.
A halberd has hree parts with its tip; the axe blade, a spike, a hammerhead or hook on the opposing side, and a spike of sorts at the tip, all attached to a 150-180cm pole. That’s five to six feet for you Americans.
It’s an open question if Melee Halberd will be corrected in the Western release version. Seeing the translation work is being worked on without much breaks and carefully, I’m hopeful. I know certain part of the fandom is prefers the naming, but it really makes no damn sense to call swords and axes as halberds.
Let’s point out that the English name of this TSF can be disputed. In Japanese, the name is アリゲートル, Arigeetoru. The little Russian I know, it should be written as Аллигаторы, or Alligatory. Seeing how no other TSF name is plural, I’m going to use my own head here and assume my ass out that its name was supposed to be Alligator, Аллигатор. It’s not uncommon to see âge misspelling names, like Schwarzesmarken or Valkylies.
The MiG-27 inherited the same basic airframe the MiG-23 had, but got a revised nose. It was first introduced to the service as MiG-23B as the ground attack variant of MiG-23, and after initial runs it saw some additional changes. Flogger-D, as NATO designated it, serves as battlefield attacker and thus these changes accommodated its role. Both sides of the cockpit are protected from small arms fire and frontal view was increased. New terrain-avoidance radar and nav/attack systems were installed to give the pilot the edge they’d need.
MiG-23 and MiG-27 were one of the first swing-wing fighters with three sweep settings; 16-degrees for take-off, 45-degrees for cruising and 72-degrees for high performance flight. Sukhoi would continue using swing-wing in its fighters down the line. Sadly, it would seem this variable geometry configuration is more or less obsolete nowadays now that relaxed stability flight controls systems have negated most of the disadvantages the fixed platform fighter had. That, and it takes much fewer resources to designs and maintain solid fighters with no variable control surfaces.
The Tumanksy R-29B-300 turbojet engine the MiG-29 uses gives it a respectable thrust of 11 500kg. The fighters’ empty weight is 11 300kg with a maximum take-off weight at 20 300kg. The armaments are respectable, having one 30mm cannon in the belly pod with seven pylons for missiles and rockets up to 4000kg, including nuclear carry capability. Nevertheless, MiG-27 was in production almost three decades until 1997 with around 4000 units build. It is a potent fighter with ceiling of 14 008m, range of 1080km and climb rate of 12 007m per minute, the MiG-27 can be still found serving different airforces around the world due to Soviets and Russians importing it to countries like Cuba, Iraq, Afghanistan and India.
Overall, a classic fighter, but I’m still partial for MiG-21.
I’m always surprised how tightly knit MiG variants are, but ultimately that showcases how it’s not feasible to have a fighter that would excel in all roles. As such, I’ve noticed how TSFs are either shooty or knify, but the ones trying to do both don’t really stand out at all. TSAs on the other hand stand apart from their TSF brethren just fine.
While the MiG-27 is variant of MiG-23, it’s TSF version is more or less an upgraded standalone version, and its performance and changes made to the frame were supposedly significant enough to give it a separate designation. The two look pretty much the same, having only one or two actually important changes, like on the arms and in certain details here and there, like on the knees and on the holes of the shoulder armours neat the head.
The Alligator uses nicely surfaces and elements from the MiG-27 fighter. It’s more inspired than some other TSFs and has instantly recognizable, boxy look to it. The groin guard is a relatively unique in that it encompasses more elements than just the fighter’s nose. The head isn’t anything special, but I would argue the shapes on top of the head are inspired by the point where the variable wings are attached to the fuselage. The shoulders and arms should’ve been just a tad slimmer to follow the surprising thin nature of MiG-27, but overall there’s a healthy amount of plane elements in there, especially in the line language, mixed with TSF original materials, notably in the legs.
It would appear that close-combat focused TSFs function as equivalents for ground attack fighters. As such, the Alligator has a larger Soviet Army Combat Knife for better BETA cutting power. I’m not sure how this translates as better close combat capabilities, as the Alligator doesn’t have any more sharp points on its armour than its predecessor, Cheburashka. It’s got the WS-16 Assault Cannon and the same DS-3 MPSA shield MiG-21’s use. I guess it’s just quicker and more nimble than its predecessor, but that doesn’t necessarily translate into better performance at close range. That translates into better performance overall.
Much like the real life MiG-27, the Alligator is supposedly still in action during the events of Alternative, making about 40% of Soviet Surface Fighter forces. It’s a competent, basic TSF that doesn’t do anything too fancy, but has the basics down just fine for a Second Generation TSF. It’s direct descendant MiG-29 Ласточка/Lastochka/Swallow and MiG-29OVT Fulcrum do everything the Alligator did and then some more while still staying in the range if Second Generation TSFs.
Of course, Su-37 and Su-47 would totally eclipse the MiG-27 in their time in terms of performance, close combat capabilities and fire power.
I was supposed to do a TSF/fighter jet comparison this weekend, but I’m sure fans of Muv-Luv will find this one a bit more of interest for the time being.
The reported amount characters in Muv-Luv Alternative Integral Works was around 500k characters. That’s a large amount of Japanese characters in 351 pages or so, and when translated text will expand the page count a lot, at least to 400 page region. Add in the Lunatic Dawn 1-9/ Allied Strategy 1-3 translation in there and you will get a piece that should hit around 500 pages and more. This isn’t the problem in itself. The problem that has popped up is that IW’s character count hits closer to 600-700k region.
Combined with the LDs, the new count would push the translation well over the 450-500 pages limit into 550-600 pages region.
To reiterate what Integral Works is, it is a source and guidebook for Muv-Luv Alternative, its fictional world history, organisations, mechanical designs and the like. It is not an artbook. I should have not compared IW to Mega Man 25th Anniversary Book…
…when in reality I should’ve probably compared IW to a book that’s more or less similar content-wise. Just with a chapter or two about fictional fighters-turned-mecha.
Lunatic Dawns/ Allied Strategy are magazine books (mooks) sold at Comic Market. Their content varies from serious additional information about in-world matters in very similar fashion to Integral Works’. However, there are numerous other subjects that LDs have, far more comedic, tongue-in-cheek in tone as well as topics that have no relation to Muv-Luv in form of advertisements and other similar stuff.
Much like IW, LDs contain interviews, sketches, behind the scenes information and short stories. They’re like bits of IW additions next to humour and advertisements.
What I’m going to touch upon in the rest of the post applies only to the physical version of the Muv-Luv Alternative Codex; something needs to be cut.
IW is the backbone of the Codex, there is no doubt about it. Contents of LD’s will be integrated amidst IW’s translated text, hopefully seamlessly.
After discussions with Jason, the Muv-Luv Kickstarter’s community manager, it became apparent that there needs to be cuts made in both IW and LDs in order to accommodate the pre-set page limit. The page limit is more or less absolute, as pressing a book of this size has to have carefully calculated budget. There’s not much room to fidget around. That’s a reality we’ve have to face and there’s really no way to get around it.
I have taken a point of view that the Codex needs to in-line with the tone and content IW has. Cutting materials from LD was previously known, and as such about half of LDs’ contents are cut straight away. These contents are the humour stuff and unrelated to Muv-Luv in general terms. As LDs are advertising for (then) upcoming âge products, they have materials on Chronicles’ series, like The Day After, Joshin Eishi Cryska and the like. As IW is a companion to Alternative, we have an establishes context for the Codex. The Day After belongs to Unlimited timeline, thus The Day After related material has no reason to be Codex, or rather, it has does not have the highest priority. It is not impossible to have future booklets that would concentrate on these The Day After and other materials.
However, as I said, something needs to be cut from IW. Chapter 9 is fourteen page short story concentrating on Tsukiji Tae. You may remember certain cat scene from Muv-Luv to which she is related to. While I would personally want this short story to be included, a fourteen page cut is a godsend, and I will argue for it getting cut simply on that it doesn’t add raw data into the book. It adds world building for sure, but it is slightly too personal.
Second piece that I would expect to be axed is in Chapter 3. Towards the end there is a seven page short story about a TSF mechanic, and while the story would be great to have for further personal world building, I also argue for its removal on the same basis as Tsukiji Tae’s short story.
Chapters 11 and 12 are interviews whereas the 13th final chapter is the Glossary. These interviews are something I would hate to see the axe as they contain information on the creation of the franchise and a little bit around of it. What I like about Chapter 11’s interview is that around the pages there are information boxes of the matters the text is referencing to. For example, it has small explanation boxes for Mospeada, the Andromeda from Space Battleship Yamato, the influence of James P. Hogan‘s SF works, Asimov’s I, Robot, Devilman, Spriggan Mk2, Raster Scroll, and of course, Neon Genesis Evangelion. These bits are interesting for sure, but with the whole library of the world at the tips of our fingers, they can be excised to gain more room.
If you’re worried about the translation quality, all I can say is that don’t be. There is a competent translator working on it.
Expect the Codex look different from IW as well. The reason for this is that ixtl doesn’t own the layout for the book. They own all the content for sure, text and images, but Enterbrain, which is a brand company under Kadokawa Corporation, owns the layout itself. They also publish magazines like TechGIAN and other game related materials. They’ve also dabbled into software front in form of RPG Maker and its relatives, plus they’ve got some actual games alongside some VNs. Tabletop RPGs too, some of which I should buy for my friend.
The person who will be in charge of Codex’s layout will have a goddamn riot day with all the materials and page limit he’ll have to work with.
Currently, the physical Codex is the main concern. The digital Codex will be made afterwards, and it has been mentioned that at the base idea it should be updated. This would mean that the content that would need to be excised from the Codex for tone and space might appear in Digital Codex later down the line.
Muv-Luv as a franchise is experiencing a sort of renaissance thanks to the Kickstarter. Schwarzesmarken is on the television, second VN being released after it has run its course and certain future plans I don’t have any freedom to talk about. Things are looking rosy, for all the fans around the world.
The Flanker series of Sukhoi fighters have always been competent fighters. In Muv-Luv Alternative’s BETAverse, the base Su-37 most likely exists somewhere, but is never seen anywhere, not even on the TSF tech trees. As such, this comparison will be a bit weird in that I am using a base version of Su-37 to Su-37m2. This is the single seat variant that Fikatsia “Mama Bear” Latrova and 221 Batal’on Zhar used in Total Eclipse. The TSF Su-37’s don’t have outside differences par painting scheme, so either could’ve been used. If this bothers you, too bad.
A modified version of Su-27 with canards first flew in 1985 and was the prototype from which the Su-35 would be based on. The first true Su-35, called Su-27M at the time, flew in June 1988. It was a single seat fighter with moving canards, improved engines, digital fly-by-wire system that had quadruple redundancy to prevent mishaps. The prototype was made to be an aggressive fighter with great control. Because of the redundancy systems, Su-37M could fight and take hits without losing control. Probably. The Su-35 was a beast on paper, but Su-37 would improve the fighter further.
Su-37 was an experimental fighter with many names. NATO calls it Flanker-F, Sukhoi themselves calls it the Terminator. A loved child has many names. For a multi-role fighter first flown in 1996, the Su-37 was super maneuverable and able to utilise two dimensional thrust vectoring with its moving nozzles. All things considered, it had great weight-to-thrust ratio with its Lyulka AL-37FU engines providing 12 500kg thrust to a fighter weighting 17 000kg empty. 2500km/h is nothing to scoff at either, especially for its time. With fly-by-wire, the Su-37 could do very impressive vertical acrobatics that impressed attendants at airshows in 1996 and 1997.
For its armaments, the Su-37 had one 30mm cannon and 14 hardpoints to carry a range of missiles and bombs up to 6000kg. The maximum take-off weight for the fighter was 34 000kg. Later Lyulka-Saturn developed AL-31Fp thrust control engines that were able to move in both horizontally and vertically. Some Su-37 were installed with these for tests and were named Super Flankers, but the engine is more associated with Su-30 Multi-Role Flanker. In December 2002, a Su-37 crashed during a ferry flight, ending the program. The plane series never entered production, and it seems Russian air forces are emphasizing Sukhoi PAK FA as a sort of response to US’ F-22A and F-35 Lighting II.
In Muv-Luv Alternative Su-37 saw larger production and was one of the main stepping stone towards Soviet Union’s 3rd Generation TSFs, namely the Su-47 Berkut.
The Terminator, as its known here, is a single-seat front line TSF. It has a brother version in Su-37UB, which was used by the Scarlet Twins Inia Sestina and Cryska Barchenowa. Anyway, the Terminator was a 2.5th generation TSF with an emphasize on Close-Combat. Sure, it carrier the usual A-97 Assault Gun, but much like its little brother, the Terminator carries Arm Blade Motors ie. Chainsaws in its arms and basically has enough Spike and Blade Vanes to give a modeller bleeding hands. It lacks proper knives to do the Knife Dance, sadly.
One thing that needs to be separately mentioned is that both Su-37 and Su-47 are very similar to each other. There are clear differences for sure, but designers at âge clearly intend to reflect the fact that Su-47 used the same tandem-tripple layout with canards and tailplanes that Su-37 would use. This leads to other interesting things like the Jump Units having two tailpods instead of one found on the real plane. Furthermore, the torsos between the two are extremely similar if not identical, which harkens back to the fact that Su-47 was originally knows as Su-37. Russians have a tendency to re-use definitions with their fighters, which honestly has caused me more than a little headache when it comes to writing this entry. While Su-47 came first in the real world, it’s very clear that Su-37 came first in BETAverse. The Terminator also is a bit poor example of fighter elements in TSFs.
One interesting thing with the Terminator is that its skirt armour has forwards pointing thrusters, which most likely adds to its maneuverability. While the Terminator was not all that impressive in Total Eclipse VN or the television series, it’s safe to say that for its time it reflects the real world counterpart in how agile beast it is. The differences between 3rd and 2.5th generation TSFs is not all that big, so it would be safe to say that the Terminator could give early 3rd gen TSFs run for their money. That is, if the US surface pilots aren’t dicks and stay in stealth mode, shooting from miles away.
I also need to revise these charts at one point from ground up.
This one will be short. For a while now I’ve been emphasizing on these Music of the Month bits how I’ve been living in a period of change and how I have been busy with work. Well, let’s just say that work business has now died down, and I will be busy with other matters. That said, I will not put the blog down and will continue to do two posts per week, more if possible.
This week we recorded a podcast with Evan from the Alternative Projects and few other special guests. This is one of those special podcasts that will appear on this site, but it’s a long one and as such will take some time to edit down. It was supposed to be ready today, but I had a two-day gig again, which took all of my time.
All previous ideas from last month are still valid and on paper. I tend to play the long game. You might remember it took almost two years to make that laserdisc player review. To continue from that on, there’s is nothing new on the Muv-Luv front. Sure, Schwarzesmarken first part was just released and I have read it a bit, but it’s less relevant for the Western fan that doesn’t understand the language. What I mean is that currently the Kickstarter is at production phase, where some products are going through final revisions whereas others, like the reworked translations, are under being worked on. As such, this is pretty much the storm’s eye moment, where we went through the first part of the storm with the Kickstarter, but we still need to go through last gusts of winds.
And that spot is was worries me quite a lot. Recently you have seen some news of game companies refusing to release games in the West if they have sexy characters. Dead or Alive Extreme has been on the news for this and Koei Tecmo made an official announcement on the issue. Next to them, Idea Factory and Compile Heart have stated that they will follow the suit. This is pretty fat bullshit, and we all know it. Here’s the thing; no company or no person should be forced to censor their product for a foreign audience, especially if this product is already for teens or older.
I do understand why these companies want to avoid localisation. It’s not just about the bad press they would get, even if it really would be from limited sources like Gawker. It’s amusing to see how the US has become a hugbox where nobody’s feelings can be hurt in any way, and France is the nation that is picking up a fight. There’s also a monetary aspect, and just not having to deal with bullshit expenses is always welcomed.
Companies like XSEED have been treating their products and customers well. Degica, while a company that doesn’t put itself too much in the front, really need to be noticed. Not only they handled Muv-Luv’s Kickasterter incredibly well, but they’ve been pushing out games like Dariusburst Chronicle Saviours. Hell, Degica has been digitally publishing large numbers of shooting games, including a bit obscure titles like Judgement Silversword. Now if they could just partner with GOG to the same extent. However, I am expecting to see some level of shitstorm brewing about when Muv-Luv’s release draws near. I know NeoGAF already had issues with it, and whenever they release the patch that adds the ‘important bits’ back, things may get a bit heated. The best thing for Degica in this case would not to back on their word. After all, it’s a million dollar Kickstarter, breaking promises will affect their possible future fund raisers.
So, what’s store for us? I’ll be finishing year’s last TSF comparison, I wanted to do some more reading on it, but I feel all of it was for nothing. There’s that aforementioned podcast and then… something I need to check, I have a horrible memory. One thing I require to do is to take time for myself and make myself better at things. There most likely will be a personal entry, haven’t done one of those in a long time. Let’s have some more Keldian to lighten up the mood, shall we?
It’s the last week of Muv-Luv Kickstarter, and I’ve yet to write a single entry on it. However, I do feel a need to write about the Codex. Or rather, the elements the Codex would be build from; Integral Works and Lunatic Dawns.
Integral Works, a name referring to pieces of essential characteristics. For some time the name has been used in Japanese source books for some time, and when referring it in context of Muv-Luv, Integral Works is a 352 page book about the world history, technology, BETA, organisations, physics regarding in-universe exotic materials, war tactics and strategies and about certain key events that took place during the second visual novel. I’m sorry, I ended that sentence too soon. IW is not just about those, but also about sketches, glossary, interviews and small sides stories.
In short, Muv-Luv Alternative Integral Works is an essential sourcebook for the fans, as it expands all the concepts introduced in the main work. The book is not a series or production bible, but more like an extensive companion.
Lunatic Dawn is a name of series Comic Market exclusive books that expand on what IW was. New Tactical Surface Fighters were introduced in them as Declassified. For example the F-35 Lighting II was introduced in Lunatic Dawn 7. These information pieces are not just your run of the mill splashtext, but rather extensive history and performance overviews. Lunatic Dawn 7 alone revealed eight never seen Tactical Surface Fighters. They have a slot in the IW TSF Tech tree, but had no visual representation. In addition, Lunatic Dawn books offer more detailed information on certain individual characters, setting, mechanics and organisations. Each instalment of Lunatic Dawn is like an additional piece to Integral Works, filling its gaps as new pieces to the franchise is released. Often an entry of Lunatic Dawn surrounds around some upcoming or new story, like The Day After or Total Eclipse, explaining bits and pieces of information that may never come through the actual work, but nevertheless applies to them. Lunatic Dawns also follow the Japanese mook format, a combination of magazine and book. Not really thick or hard enough to call a book, not really thin and flappy enough to call a magazine.
Combine Integral Works, and Lunatic Dawns, and you have an incredibly large and in-depth piece. That’s what the Codex of Muv-Luv Alternative is like. The Codex, as the Kickstarter calls it, is a combination of Integral Works and Lunatic Dawn Anthologies 1-3 in one piece.
At least, it could be. The Codex as a physical piece is Muv-Luv Kickstarter’s last stretchgoal at $900 000. That’s a lot of money, but it’s not impossible.
Here’s the reason for this post; Muv-Luv Alternative Integral Works is the sole most important printed piece of Muv-Luv franchise. The sheer volume of primary information it offers is incredibly valuable to the overall franchise, and all of it is untranslated. There are bits and pieces of an item or two that’s translated, but the whole thing is still an unknown entity.
A digital piece would do no justice to this. I cannot emphasise enough how important it would be to have something like this in your hands, feel the covers and paper in your hands, smell the scent of a new book. See the print shine in the light, admire the layout and simply read the words. Would the digital piece hold all the same information? Without a doubt. That, however, is beside the point.
A physical piece is more expensive to produce. It requires more work to get to the consumer. It demands more. It would be a glorious piece to hold. To use a comparative piece, Mega Man & Mega Man X Official Complete Works 25th Anniversary book 432 pages long. The Codex would be larger piece than this, most likely hitting a sweetspot somewhere around 450 pages. A digital version is only ones and zeroes. This sort of book demands a high quality printed product. This needs to happen, there’s no reason not to have it realized.
Here is some stuff Integral Works and Lunatic Dawns consist of. Of course, everything is in Japanese. I busted out my second Integral Works from wraps to have this mediocre flipthrough to give a glimpse what the book is all about. This didn’t do it justice, but dammit the size of it should speak volumes alone.
While you’re at it, listen to our discussionsessions with Degica about the Kickstarter if you already haven’t. There’s some golden bits in there.
Here it is, the promised second interview with Degica on the Muv-Luv Kickstarter.
Without further adieu, tune in;
It’s always a pleasure to talk with Mitch and Jason. They’re always aiming to answer whatever question we have for them, and this time I have to admit that I went bonkers with them. The questions were way too big in size, several lines on paper instead of focusing on making point-hitting inquiries. That’s on me, but in my defence each question tried to combine things that the fan community has been discussing for some time now.
This interview is about as long as the last one we did during test ‘cast, and these really can’t go much longer due to the schedule Degica’s Muv-Luv team is running under. You do get answers about the Kickstarter itself, how the project is being handled and some behind-the-scenes info.
On my end, we’re not going to see much more podcasts in this blog, as we’ve come to a conclusion that keeping it related to Muv-Luv works the best for people who already follow Alternative Projects’ blog. Some special episodes excluded.
The canard-delta wing craft multi-national pride Eurofighter Typhoon first flew in March 27 1994. The Typhoon began as a joint project between Great Britain, France, Germany, Italy and Spain. As we know, France split from the group in 1985 to pursue their own fighter, which became the Rafale. The two fighters share a similar overall appearance because of their common origin.
Whatever you want to call the Typhoon, there’s no denying that the fighter is well-suited for its air dominance role with instantaneous and sustained turn rates, low wing loading, high thrust-to-weight ratio, excellent all-around vision and ease of handling. It’s two turbofans generate a combined thrust of 18 396kg, which is comparable to the F-14 Tomcat’s, but an unladen Typhoon weights half as much as the weight of an empty Tomcat. This is due to the Typhoon being constructed by using lightweight composite materials and glass fibre.
The good vision the pilot has from a Typhoon serves it’s sophisticated attack systems well, and its identification and defence systems include Infra-Red search and track, advanced medium and short-range air-to-air missiles and largely a comprehensive electronics warfare suite. Despite it lacking stealth the Typhoon can put up a tough fight, especially when you realise that it doesn’t just have chaffs and flares, but decoys as well carried on its wingtip pods.
Despite it’s intended role, the Typhoon is really an all-around multirole combat fighter. It’s basic armaments consist of one 27mm cannon and 13 hardpoints carrying up to 6 500kg of ordinance from short and medium range AAMs to wide range of stand-off weapons, bombs and rockets. It’s underside looks like they just bolted every single sort of missile and rocket they could and made it fly fast.
All this sounds good, but it could’ve been even better, if not for Germany threatening to remove themselves from the joint project in 1992 due to rising costs.
The Typhoon requires fly-by-wire system as it is aerodynamically unstable. This offers the fighter high levels of agility, enhanced lift and reduced drag. Fly-by-wire has become standard to a large extent, which can be equated to power steering in cars. The pilots also have a relatively advanced cockpit with wide angle HUD and three monitors displaying the needed instrument information and flight data. The helmets even have a sight for the weapons, and direct voice input allows the pilot controls by talking to the fighter. That’s some serious sci-fi shit right there; Next thing you know is that some poor bastard falls in love with their machine while fighting some strawberry jam aliens.
The British variants of the Typhoon are assembled by BAE Systems from components produced in partner countries, and partner countries have their own assembly lines in Munich, Turin and Madrid. There are numerous variants of the Typhoon, and even a navalised variant has been proposed.
Unlike the F-14 Tomcat, the TSF version of the Typhoon stands well next to its original counterpart. Numerous elements are instantly recognizable, despite the legs again being more or less based on nothing.
Much like the fighter, the TSF EF-2000 is a fast hitting machine wielding sharpened components in almost every part of its body, which gives it an edge in engaging the BETA over American F-22A. These components also work as control surfaces during high speed maneuvers. Then you have the Euro Front only weapons: BWS-8 Flugelberte with the Germans, a goddamn axe, and the choice of weapon of the British Storm Vanguards, the BWS-3 Great Sword that’s made so insanely over the top that it’s nickname’s the Fort Slayer.
Despite all these close-combat abilities, the EF-2000 is able to carry the more or less usual GWS-9 Assault Guns, but also has the access to the absolutely bombastic Mk.57 Squad Support Gun, which is essentially a high-mobility support gun for the TSFs. While the US doctrine is to shoot everything and most others combine traditional armour forces with the aforementioned traditional forces, the Euro Front employs the Mk.57 with its TSFs to support each other, freeing thanks and others to stay at defensive positions. With the range of over 20km and high mobility of the EF-2000, the Mk.57 has made its impact.
What more to add? While visually the real life fighter is a bit dull, the TSF is absolutely spot-on.
The fifth test podacst is up and ready to be listened to. The topic we cover is television culture and the differences between nations. We got few first here too, as Kevin from the Alternative Projects joins us and we have a guest to fulfil an empty spot. We also start with a newsbit about the Muv-Luv stuff that has been going on.
The song at the end is the intro for the TV show MacGyver.
This being the fifth one, we’re going to go on a hiatus and see what works and what doesn’t. Feedback would be appreciated, overall speaking. Otherwise we’d be on an empty base. I’m not sure if we should concentrate on one theme only, like Muv-Luv, as that would be a subject that would be burnt through relatively fast. You’ve most likely also noticed that we’ve yet another provider change, hopefully our last.
There’s not much to add. We will most likely do a celebratory podast or a live stream on Youtube when the Muv-Luv Kickstarter begins, but depending how things go, the podcast may not be seen as updates in the future, but turned into a widget. That might work for the best, but you never know.
Three or four weeks ago, I’m not entirely sure, I contacted Degica’s community manager via Twitter if he would be interested in an interview on a podcast that didn’t exist at the time. I didn’t have much faith, we are talking about a singular fan contacting a company for information nobody else had access to.
But ‘lo and behold, things went on an overdrive. Not only did the community manager was aboard the ship, but he also got Degica’s Global Manager/ Project Leader aboard. I got a bit too greedy, and I scrambled to put up a test show. You heard it last week. Last Saturday I sat down with the representatives and Gabgrave of Alternative Projects to discuss some of the matters that people have been guessing around the Internet. Basically everything was set up in three weeks, and that’s not a whole lot time to get used to podcasting or practice it.
Now, this wasn’t just related to the Kickstarter as I wanted to approach them with questions that also relate to the main content of the blog, and as such I split the question in the middle with Gabgrave, where he handled the more Muv-Luv Kickstarter related questions.
There are some bits and pieces that I think fans of the series will love to hear, especially that little story from Anime Expo. The winners of the Giveway they were running at their site are announced here as well, and a new contest is launched a well, so keep listening to the very end.
This episode is around thirty minutes long, half of the previous one. The reason for this is because, as mentioned multiple times, things are changing and some information isn’t available. It could be said that I jumped the gun by asking for an interview too early.
Without any further intermission, let’s roll with this.
Rules for the trivia competition; Tweet your answer to @muvluvseries on Twitter in order to enter the contest. The duration of the competition is until Sunday 26th. Good luck to all the contestants.
Correction; In my quick mouthing I managed to misstate the website. It’s degigames.com, not degicagames.com.
For further transparency, there has been no monetary transactions whatsoever. This is a fan reaching out to a company for a contact, and them responding in a positive tone. The interview went through ixtl as well, but it went through in its initial cut. I’m sure I have a conflict of interest too by being a fan and having a bias.