The exact renders used in S2E1 with the straight pylons do appear to be in the Eaglemoss book.
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I posted this one already a month or more back, but they did do a bunch of different variants. It was the production designer at the time that chose the one they used, not Eaves, though Eaves also liked the one they went with.
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I've also noticed most of Eaves and Co's concept art use a lighter almost TOS coloured coloured hull, not the dark hull that the show went with.
they did do a bunch of different variants
Like, the DISCO-prise looks pretty much what I would expect a starship using "current day + x" - technology would look like - it's awfully mundane, like it could appear on any other sci-fi franchise. Mostly because it so closely follows current day design guidelines.
Whereas the TOS ship looks futuristically weird - in a way that telegraphs everything is technologically different - but at the same time, every design element still looks like it has a specific function (we just can't really say what).
Is it weird that - having the TOS and the DISCO-Prise directly next to each other - that I think the TOS one is the much better and also much more futuristic design?
Like, the DISCO-prise looks pretty much what I would expect a starship using "current day + x" - technology would look like - it's awfully mundane, like it could appear on any other sci-fi franchise. Mostly because it so closely follows current day design guidelines.
Whereas the TOS ship looks futuristically weird - in a way that telegraphs everything is technologically different - but at the same time, every design element still looks like it has a specific function (we just can't really say what). Which is IMO the much more realistic prediction - that a society that has breached the universal limit of lightspeed would have completely different material sciences as well.
Maybe it's just my personal bias - but I always loved the more other-worldly futuristic look over the "realistic" ones for my space opera with beaming and phasers and warp and shit.
Imagine that. A ship designed in the 60s looks like what you expect 60s sci-fi to look like, and one designed in the 2010s looks like what you expect 2010s sci-fi to look like!![]()
Considering the DSC version is supposed to represent an earlier, clunkier iteration that prefigures those to come...not really, no.Is it weird that - having the TOS and the DISCO-Prise directly next to each other - that I think the TOS one is the much better and also much more futuristic design?
Considering the DSC version is supposed to represent an earlier, clunkier iteration that prefigures those to come...not really, no.
-MMoM![]()
Enterprise series and shows that was his starting point for the Discoprise, which evolved from there:
Actually - no.
The beauty of the Enterprise from the 60's is that it doesn't look like a ship designed in the 60s. (If you don't believe me - just look at some other "spaceships" designed in the 60s).
The designs on the right side and the text on the page seem to imply otherwise. He started from the original TOS Enterprise and slowly changed it.
He incorporated some stuff from his NX, and Doug Drexler's NX, but it wasn't the starting point.
Looks very 60's to me. It's rockets attached a flying saucer. Has a radar dish in front and a clamshell door in the back.The beauty of the Enterprise from the 60's is that it doesn't look like a ship designed in the 60s. (If you don't believe me - just look at some other "spaceships" designed in the 60s). No - it believably looks like a starship from the far future.
The only thing similar is the shape, because they're both based on the Connie, and they're both 3/4 drawings.
Most of the major details are different. That the 3/4 sketch was drawn after the did those side profiles.
this is a matter of perception.Actually - no.
The beauty of the Enterprise from the 60's is that it doesn't look like a ship designed in the 60s. (If you don't believe me - just look at some other "spaceships" designed in the 60s). No - it believably looks like a starship from the far future.
It isn't, though. If we take Disco's place in the Prime universe seriously, it's meant to represent the exact same ship in the same configuration we saw in "The Cage" and then later with only superficial changes in WNMHGB and then TOS proper.Considering the DSC version is supposed to represent an earlier, clunkier iteration that prefigures those to come...not really, no.
-MMoM![]()
The DSC design was deliberately meant to bridge those two eras, both recalling ENT's aesthetic and foreshadowing those of TOS and the movies at the same time.That worked on ENT - being a 100 years earlier made sense that it was much closer to current day technology. For being the same ship? To change from ENT-like "realness" to super advanced futurism? Not so much.
(And yes - even though the TMP-refit was a comparable drastic change - both these versions looked very similar futuristic)
It's simply a case of the same artist being given the same task twice, beginning from the same starting point and following the same extrapolative process, and thus producing accordingly similar results.It seems to me that Eaves had more of his NX design in mind from the get-go, rather than truly beginning from TOS:
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From the standpoint of its design, which is what we were discussing, it was meant to be "the same ship that Kirk commanded at an earlier stage of its life, before several refits"—featuring "more primitive versions" of "various components" that "would be replaced over time," thus allowing for a "transition to the original Matt Jefferies ship later on."It isn't, though. If we take Disco's place in the Prime universe seriously, it's meant to represent the exact same ship in the same configuration we saw in "The Cage" and then later with only superficial changes in WNMHGB and then TOS proper.
The classic design now never existed, it's been overwritten with what we see in the S1 finale and S2 premiere.
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