Art Gallery: The Rebootana

And here it is: the product of a moment’s mad inspiration and dozens of hours of modeling, texturing, and artistic suffering: the Rebootana. Which is actually an odachi. Enough of my nonsense pedantry, though! I hope you enjoy this 360 art gallery of obscenely high-resolution sword renders. The blade in particular is by far the most detailed I’ve ever textured (gritty voice) until the next.

It is, in fact, so detailed that Blender couldn’t properly process it during renders with the simulated cameras. Yes, you read that correctly: my artwork broke the program I used to model it.

As is par for the course with my renders, you’ll need to open these in a separate window and then zoom in further to see their full detail. And while I don’t normally say this, please share these around wherever you can. It’s not often I make something quite this good.

Have fun, folks!



These long-view shots had to be rendered at FOUR TIMES their current resolution to get Blender to depict the blade textures with MOST of their detail. Sometimes, I worry I’ve gone too far.



The right-hand side of the habaki. I made shameless use of the tech-greeble look throughout the design. Can’t have a Reboot-themed sword without pleasantly campy “tech” patterns.


The menuki are matching pins reading simply, “Vengeance and Remembrance,” aping the famous motto of Reboot’s Guardians. I thought of this as expressing the goals of Woolie’s in-universe persona in avenging the Reboot he loves, now that The Guardian Code… exists.


One of a few smarmy touches I made: circuit-breaker patterns surrounding “entry points” in the design. There are these on the kashira where the ito ties it to the tsuka, and one more set around the mouth of the scabbard we’ll see later.


More tech greeble.


Nothing too exciting here. Some might say a more competent modeler would’ve added the silk wrap by textures later. I would say that’s a WEAKER modeler, which is why I spent two hours modeling these face by face and manually adding the gaps between each tie. EFFORT.


The other side of the habaki, as well as the left-hand face of the guard, seppa and so on.


A close up on the habaki. We’ve both down and upgraded in rendering, using the modeling viewport perspective. This killed reflections and other fine mirror effects, but BEHOLD: the true, borderline fetishistic detail of my blade textures!


You’re looking at the products of no less than six different selection layers in GIMP (if I had money for Photoshop, I’d probably be spoiled by that success and too much of a lazy fuck to do things this lovely anyway).


The hamon is three layers: one for its main body running down to the edge, one for the nioiguchi (the solid, bright white line formed of martensitic crystals. Yes, the brightest part of a hamon is actually made out of tiny crystals!), and one last layer for the subtle drops, lines and other ashi-like patterns running from the nioiguchi down towards the edge.


The darker steel of the jihada was two layers, which I further manipulated by shrinking and growing the selections, feathering, and laying somewhere between 4 and 6 folded-steel patterns, then contrast-editing it and coloring all slightly purple.



And of course, the bohi has its own unique pattern with a different color. After all, the bohi usually isn’t forged in to Japanese swords: it’s ground in during polishing. This means its exposed steel will have different texture and colors from the rest of the blade’s surfaces. Whether it should strictly have a pattern this rich is debatable, but hey–fantasy sword!


Some scabbard shots. The one advantage of the blurring is that it helps bring out the overall patterns of the blade.
The other side of the habaki, er, again.
A long view of the other side, with its own distinct patterns and activities. Don’t mind Blender’s camera outline, it’s just a little enthusiastic. Also, there’s the circuit-board koiguchi I mentioned. Computers, geddit?
I admit the sageo textures are a little janky, but it looks good from a distance. This last touch was a nod to Devil May Cry’s Vergil and his “katana” (ALSO actually an Odachi!) Yamato. I’d meant to weight-paint it, but realized that without animations there wasn’t much of a point.
The first of a few shots under subtler lighting. Artsy!


Like blue lighting? Too bad, I do! It’s interesting to see how this completely changes the appearance of the blade purely as an extension of rendering and the way the human brain processes color. Notice how the hamon seems markedly thicker? You can see I’d started checking out mentally here: all those circles on top of lines are my lighting setup. Enjoy the peek behind the curtain!
The first of a series of shots where I kept the camera stationary but changed the lighting. Shame I forgot to toggle off the interface during the process, eh?

(For those interested in seeing more of my artwork, the ornate kriegsmesser Absolution still deserves your love. If you’d like a fully-armed and operational lore treatment to go with the loving overdesign, Click Here. If you’d rather just the pictures without my prattle, Click Here.)

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