FMP Research

Movie Structure:

Link: https://www.storymastery.com/story/screenplay-structure-five-key-turning-points-successful-scripts/

I have researched how to structure a movie, and I have found an article online written by a top Hollywood script consultant, Michael Hauge. He shows that the story of a screenplay/movie etc. “consists of six basic stages, which are defined by five key turning points in the plot.” He goes on to say that “Not only are these turning points always the same; they always occupy the same positions in the story. So what happens at the 25% point of a 90-minute comedy will be identical to what happens at the same percentage of a three-hour epic.”

The script starts with ‘The Setup’, in which it draws in the reader and sets up the story. According to Michael Hauge, “The opening 10% of your screenplay must draw the reader, and the audience, into the initial setting of the story, must reveal the everyday life your hero has been living, and must establish identification with your hero by making her sympathetic, threatened, likable, funny and/or powerful.”

After ‘The Setup’, there is the first turning point of the story, ‘The Opportunity’. At this stage, the main character is presented with an opportunity, as Michael put it, “Ten percent of the way into your screenplay, your hero must be presented with an opportunity, which will create a new, visible desire, and will start the character on her journey.”

After the first turning point, we get to the second stage of the story, ‘The New Situation’. At this point, the main character reacts to the opportunity they were given. Hauge puts it like this; “For the next 15% of the story, your hero will react to the new situation that resulted from the opportunity. He gets acclimated to the new surroundings, tries to figure out what’s going on, or formulates a specific plan for accomplishing his overall goal.”

After ‘The New Situation’, the second turning point is presented. This is ‘The Change of Plans’. This is where the less defined goal presented near the start of script is turned into a desire/goal that will be reached by the end of the story; “Something must happen to your hero one-fourth of the way through your screenplay that will transform the original desire into a specific, visible goal with a clearly defined end point. This is the scene where your story concept is defined, and your hero’s outer motivation is revealed.”

After ‘The Change of Plans’, the third stage of the story is ‘Progress’. At this part, the main characters’ plans go well, and they make progress in the plans: “For the next 25% of your story, your hero’s plan seems to be working as he takes action to achieve his goal.”

The third turning point is then presented; ‘The Point of No-Return’, in which: “At the exact midpoint of your screenplay, your hero must fully commit to her goal. Up to this point, she had the option of turning back, giving up on her plan, and returning to the life she was living at the beginning of the film. But now your hero must burn her bridges behind her and put both feet in.”

The fourth stage of the story is reached after ‘The Point of No-Return’, which is ‘Complications and Higher Stakes’. At this stage, achieving the visible goal becomes a lot more harder. As Michael put it, “For the next 25% of your story, achieving the visible goal becomes far more difficult, and your hero has much more to lose if he fails. ”

The fourth turning point is reached as “This conflict continues to build until, just as it seems that success is within your hero’s grasp, he suffers:” ‘The Major Setback’. At this point, something happens to the main character that, “makes it seem to the audience that all is lost.”

The fifth stage is then reached, as “These disastrous events leave your hero with only one option: he must make one, last, all-or-nothing, do-or-die effort as he enters:” ‘The Final Push’. At this point the main character has to risk everything they have to reach their ultimate goal. Hauge says that, “During this stage of your script, the conflict is overwhelming, the pace has accelerated, and everything works against your hero.”

This all builds up to ‘The Climax’. At this point, the main character must face the biggest obstacle of the entire story, and they “must determine their own fate; and the outer motivation must be resolved once and for all.” Michael states that, “the climax can occur anywhere from the 90% point to the last couple minutes of the movie.”

The final stage is reached, ‘The Aftermath’. “No movie ends precisely with the resolution of the hero’s objective. You have to reveal the new life your hero is living now that he’s completed his journey.” At ‘The Aftermath’, the story shows what has become of the main character, and what their life now is.

After defining these key stages and turning points, Michael adds down below, “But a word of caution: don’t let all these percentages block your creativity. Structure is an effective template for rewriting and strengthening the emotional impact of your story. But you don’t want to be imprisoned by it. Come up with characters you love and a story that ignites your passion. Then apply these structural principles, to ensure that your screenplay will powerfully touch the widest possible audience.”

Example of a Short Animated Movie:

Link: https://www.youtube.com/watch?v=A2tDLJsMDqo

I have looked at one of my own animations that I have created, in which I have been informed by teachers that it is of “University Level”, and that “Even university students cannot create something as good as this.” For the animation, along with the documents I had to write, I managed to get a distinction grade. With these quotes in mind, I would like to analyse ‘The Resistance: A Short Animation.’

The story is based in Britain in the year 2036, in which an evil dictator has risen up and overthrown the government. He is called ‘The Minister’. He commands his own military, now made up of his original rebellion forces, and the Royal Forces. These are referred to as the ‘EX’

The opening scene presents a man called ‘General Becker’. He is recording an audio log which he calls a ‘Command Log.’ He explains that he is recollecting the ‘British War’, and explains that the Minister rose to power and suppressed different races that he saw as inferior.

The next scene shows the Minister giving a speech to his forces at a parliament building. He explains that “Today is the day that we reclaim our once beautiful land from the plague of ‘Untrue’ that infects the land.” The ‘Untrue’ are what he calls the other races.

The scene after this introduces two more characters, ‘General Miller’, and ‘Lieutenant Clark’. These two are the right hand men to the Minister, and in this scene, they are in the meeting room discussing how they have taken over Britain and control the land. The minister then enters through the elevator, and they greet him. They then sit down at the meeting table, and the Minister talks to them, saying that “As you all know, today is the day that Operation Purify is put into action.” Operation Purify involves the elimination of all other races except white from Britain.

The next scene introduces the Resistance, a rebel group consisting of mostly ‘Untrue’ people. General Uvwe is introduced at a base, and EX forces are advancing onto the base. Clark is revealed to be commanding the force, and says that “The resistance are weak men! Move forward and crush them!” A battle then ensues between the EX and Resistance forces. The EX tanks take down the base defenses, and General Uvwe calls for more reinforcements. ‘Command’ says that they have no more troops to spare, and that evacs are on the way. They both argue about this, as Uvwe wants to keep on fighting, however Command is adamant about getting them out of there.

General Uvwe and his forces continue to fight, and a tank comes up behind them. They turn to shoot at it, before the tank fires at an EX tank, destroying it. This is where Corporal Zyler is introduced, and General Uvwe thanks him. They continue fighting, with Zyler’s EX rebels blowing up tanks. They destroy the final tank that Clark is commanding, and he flies off of it, and hits the floor.

The Resistance and EX rebel forces surround him, and Zyler tells him that “I must save them from their demise, even if it means killing you and all that I have worked with.” Zyler proceeds to kill Clark, and the resistance evacs get over to them. Uvwe tells command that Zyler helped out, and the evacs land.

The next scene has General Becker talking about that the victory from the ‘footage’ (the battle that was just shown) was one of the few victories the resistance would have. They were pushed into Scotland, and built defenses. The EX forces built up, and pushed through. Eventually, the resistance was defeated, and were sent to concentration camps.

The country celebrated the victory, however the economy was sent into a spiral, as the genocide left many jobs unfilled. Eventually a rebellion overthrew the minister (Zyler was the leader of the rebellion) and they were left to pick up the pieces of the war-torn country.

Becker explains that the moral of the story is that we should “respect and tolerate each other, regardless of race, gender or otherwise.” The ending credits then roll after he ends the command log.

The purpose of the animation was to tell the story of Britain if a British value was not in place. In this case, it was the value of respect and tolerance. The animation showed the fighting between the EX, who didn’t want respect and tolerance, and the Resistance, who were all for respect and tolerance. After all the ‘untrue’ were killed (the resistance), the country suffered because of it, which teaches the lesson that we should respect and tolerate each other.

The animation style presented in this animation is simplistic, as in it is low-poly and blocky. This unique style that I have created for this animation has its advantages. The first is that due to the low amounts of faces, vertices and objects, there can be much more in a single scene without a typical computer struggling.

A disadvantage of the style is that it is up to the viewer to imagine detail on the characters and with the low poly count, facial expressions are not easy to animate, and separate scenes will be needed for changes in these expressions. Also, none of the characters are rigged, meaning that arms, legs etc. need to be separate from the body, and thusly need to be animated separately.

Overall, the animation is high tier work, and has achieved a high grade. The actual composition was expertly crafted, with sound effects, voice acting and a good mix of music that were all balanced together to create the short animation.

I will be basing my FMP animation off of this, and in doing so, I will be re-using characters and models for the FMP. This saves time on planning, as I already have the characters created, however I will be editing the characters so that they are improved. One way I will be doing this is by changing their outfits that they will be wearing, so that they are more unique. I will also be creating more environments for my animation, however I can also re-use or adapt my previous work.

Character Creation:

Link: https://www.wikihow.com/Create-a-Fictional-Character-from-Scratch

I have also researched how to create characters, as my project will require more characters for the animation. A wikiHow article on character creation has helped out.

The first step to creating a character is, according to the article, “define the setting, or initial scene. Whether starting on paper or on the computer screen, your character must exist somewhere, even if that somewhere is virtual nothingness. It may be an apartment in Paris, or a parking lot in Poughkeepsie, New York. This not only sets the stage for your character, but will help define him, her, them etc. as well.”

The second step is to define the 5 Ws and the 1 H of the character. wikiHow says that, “If you're at the point of creating a character, chances are you have at least the idea of a plot/story in mind.”

The third step is to “think creatively.” Creating a character takes time, and a good character is unique. “not every character in a story is human. For example, in Tolkien's Lord of the Rings, the mountain Caradhras functions as a character, filled with a cold malice, whereas in Hemingway's "The Old Man and the Sea," a marlin is one of the main characters.”

The fourth step is to start with an archetype for the character. “ Who you need depends on your story, of course, but by starting with broad criteria, you can start to make decisions that will gradually define your character by reduction.” The two main types of characters needed are the protagonist and antagonist, as they will be integral to the story.

The fifth step to character creation is to “add specific characteristics.” this includes adding character traits, features and what the audience will like about them. There are a few factors of the characteristics:

“Determine whether the character is male, female, or otherwise. This will inform the character's general point of view, suggest traits depending on archetype, and may even be a point of conflict for your character and your story when seen through the eyes of society's preconceptions, whether fair or not. For example, an arrogant male is perceived differently than an arrogant female. (Both of which further define your character!)”
“Age is a factor. Older is generally seen as wiser, but it comes into play in other ways as well. A young villain is generally portrayed and seen as a bad seed or simply insane. An old villain can be all that, but might also be twisted that way by life's circumstances—giving him a lot more depth. The young, idealistic hero elicits a different feeling than the world-weary vet who is just doing the right thing. And when either of those meets their end in the story, the reactions are different as well.”
“Sometimes these can be contradictory. Don Quixote was a crotchety old man who'd spent his life in a room reading chivalry novels, and was woefully naïve. Yet it was this naivety that drove him to seek adventures and love, and to create fantastic imaginings from the world around him when reality didn't meet his expectations.”

The sixth part of character creation according to the article is to “Define your character's purpose or goal.” In a horror movie, the protagonist may want to survive at all costs. “How your characters deal with the inevitable obstacles that stand between them and their aims will most clearly define them. In complex stories these might cross repeatedly, with the motivations and accomplishments of some characters getting in the way of others, generating further action and twists, and cumulatively raising the stakes.”

Step number seven is to “give them attitude.” Fleshing out a character and giving them a true personality is part of the character making process. “ Some parts of their personality may never make it into your story, directly, but will help inform the decisions your characters may have to make.”

The eighth step is to “give your character quirks. Good habits, bad habits, or just things the character can't stop doing without some serious discipline or counselling. This can be minor, such as biting fingernails (which would indicate a worrier), or obsessive hair-combing (vanity or insecurity); or as serious as a drug addiction (somebody who evades responsibility and craves escape), or a death wish (hopeless and forlorn).”

Step nine is to “Give your character a home—with a mirror. Work on external features such as where he lives, what she looks like and whether or not he has any pets, etc.” The type of household they live in can help determine the character.

Step 10 says to “Work out their fears, weaknesses, motivations and biggest secrets.” This is to create a more realistic character that is relatable.

The eleventh step says to “Take mannerisms and features from people around you. Look at people at the mall, or on the subway. Suggestions for characters are everywhere.” Basing characters on real life examples can be useful.

Step 12 is to “Associate symbolic archetypes. Matching your character's traits to our perception of objects can help define your character, and be useful for foreshadowing moods and actions. For example:”

“A rose blooms briefly, but people adore them.”
“A snake is volatile and can strike without warning.”
“Stone buildings are solid and resistant to change.”
“Thunderstorms are violent, but presage a surge of growth to come.”
“A sharp sword is even a danger to the hand that wields it.”

The final step of the article, step 13, says to “Role play as your character. First of all make a mind map of all the things you've talked about, and all the things you want to decide about your character. Get a voice recorder - most phones or laptops have them - and interview yourself, or even better get your friend to interview you as the character. Then write it down, and fill your mind map, to uncover things you didn't know about your character and develop the personality. If you make a mistake in the recording just remember that you can always branch out into multiple possibilities from a given idea.”

With all these steps in mind, I will be revising and creating characters for my project. I have some characters already in place, so this article helps me by improving my character creation skills.

I also have another online source related to character creation.

Link: https://www.designyourway.net/blog/graphic-design/character-design/

This website also includes information on character design, and contains similar points to the first link. The website is based more for character design within games, and so includes points on different styles (2D, 3D) for the character.

“From a technical standpoint, there’s a world of difference between 2D and 3D character design. Many of the principles are the same, but the effect of certain choices can be very, very different.

3D characters can be seen from all angles, so you’ll need to figure out what they look at when viewed from all around. You’ll need to have a very clear sense of the character’s height, weight, and shape. 2D characters can do all sorts of physically impossible things just based on how they’re drawn. 3D characters need to have a more realistic physicality to them. Tiny legs and a huge body are a lot harder to make look right in 3D animation.”

The website has a list of the essential character design points. These are:

Figure Out Your Target Audience
Know Where the Character Will Appear
Study Other Designs
Make Your Character Unique
Add Some Personality
Use a Unique Body Shape
Lines Have Meaning
Utilize Exaggeration
Use Colour Wisely
Accessorize Your Characters
Expressions
Remember to Keep It Simple
Give Your Character Goals, Dreams, and Wants
Create a Background for the Character
Research Real Subjects
Think Outside the Box
Get Feedback from Other People
Fine-Tune Every Aspect of Your Character Design

The website goes into detail about the above points, which helps in character creation. I will be keeping all this information in mind when adding characters to the project.

Primary Research:

I have carried out multiple forms of Primary Research for my project. Firstly, I have conducted a survey/questionnaire to gather information relevant to the project.

In the questionnaire, I had 14 questions for the participants to answer. There was a mix of open and closed questions, allowing for me to get the information I needed for the project. One such question was a multiple choice question about the person’s choices for film genres. I had them circle/tick what they liked. Here is the chart;

Out of 11 participants in the questionnaire, all of them said that they enjoyed action/adventure, which is great as my animation will have battle scenes. 10/11 people said that sci-fi was another genre that they liked. There were only 3 people who said that they enjoyed the musical genre. 5 people said that they enjoyed other genres, and they had listed them.

As my intended genre is Action/Adventure as well as Sci-Fi, the results here are good for me, as it seems that most people will enjoy my animation.

Another question in the form was about the usage of action/non-action scenes, and what was the ideal length of these types. After collating the information, I found that everyone who answered the questions preferred a mix of both types of scenes. There was an almost even split between the ideal lengths of each type of scene, with roughly half the answers as ‘short’, and the other half answering ‘long’;

The answers above indicate that I should use a mix of scenes and scene lengths, so that the animation is entertaining and doesn't leave the viewer feeling bored. I had already intended to use different scene lengths in my animation, so this confirms that I am on the right track.

An open question that was presented asked the person what the title of the project brought to mind. Some answered about fantasy places with floating islands, others answered with historical eras, and some answered with how they related the description to genres;

One other open question in the form was the persons preferred music and what they would expect in a movie. There was a wide range of answers, such as EDM and Soul, and most people didn’t care what was in the movie, as long as it fit the scenes. In the graph, the top three answers linked to all the others are the music that would be expected in a movie, with the bottom answers being the person's preferred music;

As most people didn't care for the music as long as it fit the scene, I will be using what I see fit to use in my different scenes. I would like to use metal and more heavy music for the battle scenes. In the other scenes, I believe that more calmer types of music will be used to fit the atmosphere.

The final question asked the person what they would like to see in the movie, or suggestions. Surprisingly, the majority left this part blank, with only few answering it. The suggestions I did get ranged from simple weapons that they would like to see, to different scenes in the movie, and also effects and structure to the movie.

I will be using the data from this question for what I should include in the animation. I had one answer to include the panzerschreck, a German anti-tank bazooka, which with a bit of modernising, could be a cool addition to the weapons used in the animation.

These are the generalised answers for the 14th question;

The other part of the Primary Research had me go out and take pictures of areas that I found interesting and that inspired me. I went from the suburbs to the city and took pictures of the buildings and landscapes that I saw.

I took pictures of the Roundshaw Estate, which included houses, community centres, parks/fields and the road network. I then took a bus ride to West Croydon to gather images of the tall buildings and apartment complexes, as well as the general landscape of a busy area;

The suburbs contained much more open spaces than the city, which is quite useful for inspiration for my own city that I would want to make. Any city usually has a centre packed with tall high-rise buildings, then suburban areas of larger, shorter family homes, as well as large fields/parks in the area.

In my primary research, I had also gathered a few toys that I could use for inspiration. The first set of toys are a collection of military vehicles, ranging from tanks to troop carriers;

These assortment of vehicles may be used to

design smaller tanks and specialist vehicles for

the animation.

These vehicles could be used in

designing transport and assault

vehicles for ground troops

in my animation

This Tank might be useful for

designing a cool tank

for use in the animation

I also took pictures of toy guns that I had, such as nerf guns, as these could be used for inspiration as well;

These guns, especially the assault rifles, could be used for inspiration in my weapon designs. I could make my own assault rifles, pistols and shotguns from these examples.

Finally, I took the time to create some lego figures as well as some turrets and an environment for inspiration for how I should model them for the project. I then took pictures of them;

These lego models that I have created will be used in designing the final 3d models for my characters/objects. Above, I have 3 of the characters that I want to be in my animation; Becker, Uvwe and Hurton. Their lego models reflect their intended roles in combat, with different armor between them, as well as a difference in the choice of weaponry for each individual.

I also have the designs for some defenses above as well. These are the; Small MG Encampment, Medium MG Tower and the AA Defense. The Small MG is low, flat, and i will be used for defending encampments/small fortifications. The Medium MG is a larger tower with bigger bullets, being useful for defending bases from larger forces. Finally, The AA Defense uses laser-guided rockets to take down overhead air support with ease.

Undertale Soul Research:

Link: https://archiveofourown.org/works/5053684/chapters/11621461?view_adult=true

Soul Colours + Trait

Red - Determination

Orange - Bravery

Yellow - Justice

Green - Kindness

Cyan - Patience

Blue - Integrity

Violet - Perseverance

Bight Souls - Stay true to themselves e.g. Bright Cyan indicates a person who stays patient with others, even during times of stress.

Dark Souls - Corrupted versions of the soul colours e.g. Dark Yellow indicates a person corrupted, their justice trait is corrupted into, well, corruption, using their willpower to their advantage.

Soul Colours + Magic

Red - Timeline Manipulation (SAVE, LOAD and RESET)

Orange - Run through to not get damaged.

Yellow - Electric-Based. Projectile Shooting.

Green - Healing. Immobilization.

Cyan - Stay Still to not get damaged.

Blue - Telekinesis/Gravity Manipulation.

Violet - Muffet Strings. Forces certain movements. Karma Ability.

Dreemurrs can use fire magic.

Skele-bros can use gravity manipulation, as well as blue magic and bone magic.

Sans can teleport/phase between dimensions to end up at a different place. He also has the ability called karma, which acts like a poison. Sans can only do one damage, however with karma, he can inflict the poison which takes away more hp over time. This is only effective if a person has a high LV, which is the reason why it is called Karma.

Undyne can use green magic for immobilization. She can also create spears.

Mettaton can use electric magic, as well as summoning bombs

Muffet can use magic webs, purple magic.

Flowey can use plant based magic, such as vines and flower pellets

Every monster has attacks that are based on their personality/species.

Frisk/Chara can use determination to manipulate the timeline.

Wing-Ding Gaster/Aster (W.D.G) is a character that, according to the most popular theory, became trapped in the void after a science experiment went wrong. He then had access to view all possible timelines. Some fanfictions have him becoming corrupted within the void after spending eternity within it. Others have him as a wise scientist who ends up returning to help. There are also fanfictions that have him in both stages.

Soul Theories:

One soul theory is the idea of dissonance, in which soul colours that are similar make each person have a predisposed dislike towards the other, such as a green and cyan soul. One example of this is found in the fanfiction, ‘Would That Make You Happy?’, in which two characters, Sans and Deacon, have these soul colours. In the writing, it says this:

"Hmm," Asgore begins, looking from Sans to Deacon. Deacon is just sitting there, confused as he watches Sans. "It sounds as though your Souls are dissonant."

"are you—?" Sans cuts himself off, gritting his teeth. "are you kidding me? he's a human."

"What are you talking about?" Deacon says, echoing your own thoughts.

"He is a mage and as such his Soul is more like that of a monster. Magic flows through him, and even though he cannot sense them as we do, it is possible for a mage Soul and monster Soul to become dissonant," Asgore says, which isn't helping you very much if you're being honest. But Sans seems to understand. "Unfortunately, since human Souls are stronger than ours, the dissonance is... much sharper."

"so you're telling me... that not only are we dissonant, but he can't even tell?" Sans asks, his voice almost a growl.

"What can't I tell?" Deacon asks, looking between Asgore and Sans.

"Your Souls are too similar to be complementary. They... clash. A dissonance between monsters might surface as a rivalry, or just a general dislike, likely without a logical reason," Asgore says, sighing. "This is a step more than that, but since you cannot feel Souls as we can, Sans is the only one that it affects."

"But... you two were getting along! Everything was fine, until..." you trail off, looking at the ground, and then at Sans. He looks resigned. "You overcame this..."

"Well this is fucking perfect," Deacon breathes, bitterness in every syllable. "No wonder you hate me, our damn Souls won't even play nice."

"i don't hate you," Sans blurts out, looking up at Deacon. Your friend is taken aback, his lips parting like he wants to say something, but he doesn't. "shit, i... fuck, i don't know anymore..."

Bibliography:

Durks, T. (n.d.). Main Film Genres. [online] Filmsite.org. Available at: https://www.filmsite.org/genres.html [Accessed 1 Mar. 2019].

Hauge, M. (2014). STORY STRUCTURE: The 5 Key Turning Points of All Successful Screenplays. [online] Michael Hauge's Story Mastery. Available at: https://www.storymastery.com/story/screenplay-structure-five-key-turning-points-successful-scripts/ [Accessed 27 Feb. 2019].

wikiHow. (n.d.). How to Make a Movie. [online] Available at: https://www.wikihow.com/Make-a-Movie [Accessed 1 Mar. 2019].

wikiHow. (n.d.). How to Create a Fictional Character from Scratch. [online] Available at: https://www.wikihow.com/Create-a-Fictional-Character-from-Scratch [Accessed 1 Mar. 2019].

Circlecity.co.uk. (n.d.). Ranks in the British Army, Navy and the R.A.F.. [online] Available at: http://www.circlecity.co.uk/wartime/military_ranks/ [Accessed 1 Mar. 2019].

Richardson, R. (2019). The Resistance: College Final Animation. [online] YouTube. Available at: https://www.youtube.com/watch?v=A2tDLJsMDqo [Accessed 1 Mar. 2019].

Sandu, B. (n.d.). Character Design: Tips On How To Design Characters. [online] Design your way. Available at: https://www.designyourway.net/blog/graphic-design/character-design/ [Accessed 1 Mar. 2019].

Image Sources (Tanks):

https://img1.cgtrader.com/items/791365/f4ba9e5d75/sci-fi-tanks-3d-model-low-poly.jpg

https://images3.sw-cdn.net/product/picture/710x528_14229437_8694146_1469678024.jpg

https://img-new.cgtrader.com/items/765253/8c7fdac86b/scifi-overlord-siege-tank-3d-model-low-poly-obj-fbx.jpg

https://sketchfab.com/3d-models/scifi-shredder-anti-air-tank-48c3e1b1d902454d99ae6e014b53e109

https://i.imgur.com/STgr7YG.jpg

http://img12.deviantart.net/d42b/i/2012/146/f/a/uef_super_battle__tank_by_avitus12-d516b76.jpg

http://cimsec.org/wp-content/uploads/2014/12/Bolo-672x372.jpg

https://media.moddb.com/cache/images/members/1/262/261858/thumb_620x2000/ratte100.jpg

http://3.bp.blogspot.com/-CW872wkOYUg/UbhJljiuSaI/AAAAAAAARUk/lnijEAPdUis/s1600/Landkreuzer+P.+1000+'Ratte'+2+-+Wunderwaffe+-+Third+Reich+-+Luftwaffe+-+Deutschland+und+die+Ostmark+-+Peter+Crawford.jpg

https://orig00.deviantart.net/ec22/f/2006/335/2/3/imperator_shbt_class_by_doc_evilonavich.png

http://orig03.deviantart.net/6b62/f/2015/305/8/c/m192a6_monolith_terrestrial_mobile_battlestation_by_duskie360-d9f4b3f.png