This is the Harry Badger project backlog of all the cool things I want to build next. Some will be 2026 projects and some are longer term adventures.
I have a rolling backlog of project I really want to build. Some are required for future events like the upcoming Gunman Airsoft Halloween Special event in October or the StAlkErS Filmsim event in November and January.
The backlog is always growing and I'm gradually working my way through the list. Some are really cool projects that I just want to do for the fun of it. Others are itterations of previous projects that could be improved with new functionality and features.
Either way, this gives you a insight to the things that will be rolling out of the Badger Towers workshop in the future.
This project is the motion tracker from the Alien: Isolation video game, rather than the familiar tracker seen in Aliens. I have already built the film version of the Motion Tracker used by Ripley, Hicks, and Hudson, and this project would sit alongside that as a clear point of contrast. The Isolation tracker never appeared on screen in the movies and has a noticeably different design language, with a larger screen, altered layout, and a more modern overall format, while still retaining the core function of motion detection.
From a build perspective, the groundwork already exists. A complete 3D model is available, along with microcontroller code that replicates the tracker’s behaviour with a few additional features layered on top. This feels like a prop that speaks more to a younger audience who discovered the Alien universe through the game rather than the films, whereas my own nostalgia sits firmly with the original cinematic hardware. It would not be built for gameplay or field use and has no event role planned.
I already own life-size silicone facehugger props with fully poseable legs and tail, and as static pieces they look great. They work well as display props, but they stop short of feeling alive. The spark for this project comes from Alien: Romulus, where the production team built a remote-controlled facehugger that could scuttle across the ground with articulated, spider-like leg movement. Seeing one move convincingly shifts it from prop to creature.
This build would be about pushing into new territory rather than filling a gameplay role. Animatronics, remote control, servos, motors, and coordinated movement are all skills I have not properly explored yet. Other makers have proven that it is achievable, which makes it an appealing learning challenge. It would end up as a showcase piece rather than an event prop, but as a long-time fan of the Alien universe, a moving facehugger feels like an obvious and slightly unhinged addition to the collection.
This project is a recreation of the perimeter fence switch panel from Jurassic Park. It is based on the scene where the power is rebooted and Ellie Sattler restores systems by flipping a bank of 12 switches in sequence, with the final switch bringing the perimeter fence back online.
The plan is to build it as a full-size, interactive prop for an upcoming Jurassic Park themed Gunman Airsoft Halloween event. It will be a large panel with big switches and big lights, designed for players to physically operate as part of the event experience.
This project is the iconic entrance gate from Jurassic Park. It is a defining piece of architecture within the film world. Tall stone pillars, a massive central gate, and fire lamps on either side. Even in silhouette, especially when lit, it is instantly recognisable as the moment where you enter the park.
For the October Jurassic Park themed Gunman Airsoft Halloween event, the plan is to build a large-scale version of the gate. It will not be movie-accurate in scale, but it will be big enough for vehicles to pass underneath and for all players to walk through as they enter the game zone. This is a pure scene-setting build. It exists to establish tone and atmosphere and to create that immediate sense of crossing a threshold into a dinosaur park.
This project recreates the Barbasol shaving foam can used in Jurassic Park, where Dennis Nedry hides stolen dinosaur DNA samples inside a modified can. It is a small but highly recognisable prop, tied directly to one of the most memorable moments in the film.
The build is intended for the upcoming Jurassic Park themed Gunman Airsoft Halloween night game. Teams will be issued with a Barbasol can that can be unscrewed and used to store collected dinosaur DNA samples during play. The project focuses on the can itself and the physical DNA sample props, serving as a simple, story-driven object that links directly back to the film.
This project is focused on creating dinosaur eggs for the Jurassic Park themed Gunman Airsoft Halloween night game. Dinosaur eggs are a core part of the Jurassic Park world, so having them physically present in the game environment feels like a natural extension of the setting rather than a standalone gimmick.
The plan is to build around 20 eggs in total, with roughly 10 per team scattered across the game zone. Exactly how they are used is intentionally undecided at this stage. They may form a simple collection objective, a side mission, or something more loosely integrated into gameplay. What is fixed is their presence and scale. These will be large, clearly non-chicken eggs, potentially closer to ostrich size or larger, and the challenge of the project is working out how to make convincing, durable dinosaur eggs in those quantities.
This project is the power loader from Aliens, one of the most iconic machines in the franchise. It appears in two key scenes, first as a heavy-lifting industrial tool and later when Ellen Ripley uses it to fight the alien queen. Visually it is unmistakable. A forklift-like exoskeleton, but on legs rather than wheels, and instantly associated with the Aliens universe.
The starting point would be an existing scale model that could be enlarged to full size, similar to how I approached the Terminator build. The simplest version would be a full-scale static display, but the real ambition is to make it functional, at least in the arms. Walking movement would be extremely complex, but even partial articulation would push this into a very different category of build. Because of its size and mechanical complexity, this is clearly a long-term, large-scale project, but it earns its place on the backlog purely on how iconic and absurdly ambitious it is.
This project is the sentry gun from Aliens, seen in the scenes where Corporal Hicks deploys automated turrets to defend key positions. The sentry guns are a memorable part of the film. A defense system that detect movement, rotate into position, and engage targets without direct human control.
From a build perspective, it sits close to the Smartgun project in terms of visual language, with the original prop based around an MG42-style platform. Using a real MG42 donor again would be expensive, so this would likely lean on cheaper airsoft components and fabricated parts. The core challenge and appeal is functionality. The aim would be a working motion-tracking sentry gun using a webcam, microcontroller, motors, and custom code to control X and Y movement. Other makers have demonstrated similar concepts with Nerf-based builds, but this would push it into fully functional, airsoft-based territory.
This project is the Smartgunner IR visor and headset from Aliens, worn by the Colonial Marines when operating the Smartgun. It is a natural companion to the existing and in-progress smart gun builds. If the weapon exists, the headset needs to exist alongside it to complete the look and the loadout.
There are 3D models and build guides available, so this should be a relatively simple project compared to others on the backlog. Its exact position in the backlog order is still open, especially with plans for functional head-mounted cameras that may influence how this is approached. Regardless, it is required as supporting prop for the existing Smartgun project.
This project is the body armour worn by the US Colonial Marines in Aliens. In previous events where I have built and equipped Colonial Marine squads, none of the loadouts included armour, which leaves a noticeable gap in the overall look. The armour is a defining part of the Marine silhouette and is something that is clearly missing from the current kit.
The plan is to build the full set from patterns using EVA foam. It is a sizeable project with multiple components and would be my first attempt at a complete suit of armour in this material. While I have worked with EVA foam before, this would push those skills much further. It also has wider value beyond Aliens, acting as a stepping stone toward other armour-heavy builds, but at its core it is an overdue and essential addition to the Colonial Marine loadout.
This project is the six-bladed Predator shuriken from Predator universe. It is a very specific and distinctive weapon design, instantly recognisable and nothing like a conventional throwing star. During a previous Aliens vs Predator Halloween game, this was something I wanted to build but never did. The workaround at the time was a laser-cut foam silhouette, which captured the outline but lacked any real presence or practicality.
This is one of the few unbuilt props that has continued to nag at me. Every time I think about the Predator universe, this missing build comes back up as something I should have made properly. There are no future events planned where it would be used in gameplay, so if built now it would be a display piece rather than a functional prop. The motivation here is simple. It is about closing a loop on an idea that never got finished and finally building the prop that should have existed in the first place.
This project is about scaling up the interactive M-COMs I have already built and used successfully in Battlefield-style airsoft games. Those devices proved that interactive objectives work well. What I want to build here is something far more imposing. A single bomb prop that immediately reads as dangerous, complex, and important the moment players see it.
The inspiration comes from classic action movie bombs. Large housings, dense layouts, switches, buttons, wires, flashing indicators, digital displays, and visually dramatic elements that suggest catastrophic consequences if it is not dealt with in time. The goal is to create a very big, very ornate, and very cool-looking bomb that players must physically interact with to disarm. The emphasis is on presence and spectacle.
This project is a full-size Buzz Lightyear costume from Toy Story. I already have a complete 3D printable model for the suit, so in theory it is a straightforward process of printing all the parts, post-processing, sanding, painting, and assembling them into a wearable costume. In practice, it is a huge production effort with a large number of prints and the added challenge of scaling everything correctly so it fits me.
Buzz Lightyear has been a favourite character since the original film, and I have wanted to build this costume for a long time. The main reason it sits low on the backlog is the sheer volume of work involved. It is not technically complex, but it is a mountainous printing and finishing task that demands a lot of time and commitment, which makes it easy to keep pushing to the back of the queue.
This project is a replica blasting cap detonator in the style commonly seen in World War II and wartime films. A battery box, heavy screw terminals for the wires, and a large handle that is twisted to trigger the detonation. It is a very physical, mechanical-looking device that immediately communicates its purpose.
The intention is to build it as a functional game prop connected to a pyrotechnic effect. Players would physically connect the wires, secure them into the terminals, and then operate the handle to trigger the explosion at a remote objective. The build itself is relatively straightforward. Suitable 3D models already exist, and the focus would be on turning one of those into a robust, reliable prop that can withstand repeated use in live games.
This project is the next iteration of the Fallout terminals built for the StALkErS game, inspired by the terminals seen in the Fallout universe. The original builds prioritised software, interface design, and interactivity, with less attention given to the physical form of the terminal itself.
The Mark II version shifts that focus to aesthetics. The aim is to take the already working modern internals and house them inside a properly styled, retro Fallout terminal enclosure. The primary format will be a wall-mounted terminal, with a desk-mounted version as a possible secondary variant. This project is about marrying the existing functionality with a convincing, in-world physical presence.
This project is about introducing proper holotapes into the StALkErS game, inspired by the Fallout universe. In the previous event, audio logs were delivered using 3.5-inch floppy disks inserted into terminals. While functional, that approach was a compromise, and the intention from the start was for players to be finding holotapes rather than real-world media.
For the next event, the goal is to build physical holotapes that players can collect and use. Because holotapes do not exist as a real-world format, both the housing and the electronics need to be designed. They will need to interface with something, whether that is a terminal or a dedicated holotape player. This makes it an open-ended project that could be simple or technically involved, potentially extending into custom electronics or PCB design. A key requirement is that whatever solution is chosen must be robust enough to survive repeated handling and use in a live airsoft environment.
This project is the ZF1 multifunctional weapon from film The Fifth Element. It is widely regarded as one of the most iconic and desirable sci-fi props ever put on screen. The moment the ZF1 is mentioned, most sci-fi fans know exactly what it is. Complex, absurd, and unforgettable, it sits firmly in Holy Grail territory.
This is not a build from scratch project. A full ZF1 kit produced by Jake Can Make is available, and I have already purchased it. The scope of the project is assembly, finishing, and display rather than design or fabrication from first principles. The goal is a screen-accurate trophy piece to hang on the wall. It exists for one reason only. I want one.
This project is the proton pack from 2016 Ghostbusters movie. While it serves the same purpose as the original 1980s packs, the design is very different. It leans much more into visible tech, with heavier use of lighting, effects, and a more modern visual language. It stands apart clearly from the earlier versions while still being recognisably Ghostbusters.
I have already built three Proton Packs based on the original films, so this is a natural addition to round out the collection. A suitable 3D model already exists, which makes this largely a print, assemble, and wire project rather than a design exercise. It is low priority compared to other backlog items and would be built as a movie-accurate showpiece rather than for event use. It is simply a cool prop that is missing from the collection and one that I would like to complete.
This project is based on the Oddball multiplayer mode from the Halo computer games, where teams compete to hold a skull for as long as possible. The concept translates cleanly into an airsoft objective. A physical skull that players must locate, carry, and retain control of to win.
The build would involve a 3D printed skull with embedded electronics to detect possession. How that detection works is still open. It could be a button, a touch sensor, or another method entirely. The defining requirement is robustness. This prop will be dropped, kicked, thrown, and abused during games, so it needs to survive hard impacts while keeping all electronics intact and functional. At its core, this is a durability-first interactive objective prop designed specifically for live airsoft play.
This project is a full set of ODST armour from the Halo. The idea came up while discussing Halo-based airsoft objectives and props, and a few of us agreed that having a proper ODST loadout would elevate those games significantly. The 3D model for the armour has already been purchased and is now sitting on the build list.
The work itself is largely a production task. Printing all the armour components, finishing them, and assembling a wearable suit. Some elements will need more thought, particularly the helmet and its one-piece visor, but the rest is fairly well defined. This is not a display costume. It is intended to be worn and used during airsoft games, with a higher level of detail than the usual 10-metre rule allows. It will sit closer to a 3 to 5 metre rule build, balancing visual fidelity with practicality and durability.
This project is the Iron-Man suit worn by Pepper Potts in the Iron Man and Avengers films. The idea came up early on when I was getting into 3D printing and talking through costume ideas with my niece, alongside projects like Robocop, Winter Soldier, Buzz Lightyear, and other full suits. She wanted a Pepper Potts Iron Man suit with a motorised lifting helmet, lighting, and sound effects.
A suitable 3D model already exists and is on the project list. This would be a cosplay-focused build rather than an airsoft or event prop, and it would be built as a gift for my niece. The aim is a wearable, visually accurate suit that captures the look and feel of Pepper Potts’ armour.
This project focuses on the Winter Soldier costume from the Captain America movie series, with the primary emphasis on the mechanical arm. While the goggles and face mask are part of the overall look, the arm is the defining element and the core of the build.
A 3D model for the arm is already available, and initial test prints in TPU have been successful. The main challenge is not printing but finishing. The arm needs to remain flexible, comfortable, and practical to wear, while also achieving a convincing chrome metal appearance. Developing a durable, flexible chrome finish on a TPU surface is the key technical hurdle for this project and is what places it on the backlog as a materials and post-processing challenge rather than a straightforward print.
This project is the Nixie Tube watch seen in Metro 2033 computer game universe. I have already built an earlier analogue version of the Metro 2033 watch that appeared in the games, but that design was replaced with a more advanced Nixie tube variant.
Most of the work for this project is already staged. The parts and components are sitting in a box ready to be assembled, which makes this less of a design challenge and more of a completion task. It remains on the backlog not because it is difficult, but because it keeps being displaced by higher-priority builds. When there is space to breathe, this is a project that can be finished and properly documented without needing further groundwork.
This project is a set of musical metal targets for the range at the my home airsoft site where I marshal. The inspiration was a video released over Christmas where someone set up rows of metal plates tuned so that each impact produced a different note, and they were able to play Jingle Bells by hitting the right targets in sequence. It is a fun twist on the standard distance targets and something that would add a bit of personality to the range.
The build itself is straightforward fabrication, an array of metal plates cut to specific dimensions so each one rings at a different pitch. The real challenge is the tuning. Working out the plate sizes mathematically so the notes land where they should, then scaling that into enough targets to cover a usable musical range, effectively like keys on a piano. The goal is a durable, permanent range feature that rewards accuracy with something more satisfying than distance targets
This project is a functional upgrade to the US Colonial Marines helmet cameras from Aliens movie. In my loadout guide, the cameras are treated as static dummy props, but the long-term goal is to make them real. Small helmet-mounted cameras that look screen-accurate on the outside, with working electronics inside.
The ambition is a wireless system where multiple marines can stream video back to an operations centre, with feeds displayed on an array of screens like a CCTV wall. The hard part is not the prop shell, it is the networking. Reliable wireless links, range, bandwidth, transfer rates, and usable video quality across a game site are the core challenges. It is a high-effort technical project, but if it works, it would be one of the coolest functional upgrades to a Colonial Marines squad setup.
This project is an upgrade to the existing Rapier Missile Launcher build, which is already complete and installed on site as a static feature. The launcher itself works visually, but the missiles do not move, which limits how interactive it can be during a game.
The upgrade would mount the missile array on a bearing so it can rotate left and right along a single axis. Control would be handled via an existing MCOM-style interface, with each team able to press their own button to swing the missiles toward the opposing side. After a timed period, whichever team the missiles are pointing at loses. A CO₂ plume effect venting from the rear of the missiles at the end of the countdown would be a nice addition, but the core aim of the project is simple. Add controlled, motorised rotation to turn a static prop into an active, game-driving objective.
This project is the original RoboCop armour from RoboCop, not the later remake design. A complete 3D model already exists, so like the Buzz Lightyear build this is a large-scale production print project. The main challenges are print volume, scaling the armour correctly to fit me, and post-processing. The finish is critical. This cannot be a painted silver costume. It needs a highly polished, reflective chrome surface to sell the character properly. What pushes this beyond a straight costume build is the Auto-9 integration. RoboCop’s signature weapon is housed inside his thigh, with the armour opening to reveal the pistol. The plan is to replicate that feature, with an animatronic thigh panel that opens to expose the Auto-9, which can then be removed and used. I already have an airsoft Auto-9 replica, so the focus is on engineering the armour to accommodate it. It is a heavy production project with a demanding finish, but it is one of those builds where getting it right makes it instantly iconic.
This project is the large rotating-head doll from Squid Game, commonly known as Young-hee. In the series, the doll stands several metres tall and rotates its head as part of the Red Light, Green Light game. It is instantly recognisable and visually unsettling, which is exactly why it translates so well as a potential airsoft site feature.
To work at the same scale as the show, the build would need to be somewhere in the three to four metre range, with a motorised head capable of rotating the head 180 degrees. At that size, this stops being a 3D printing project and becomes a fibreglass build. A printed structure left outdoors would not survive long-term weather exposure, whereas fibreglass would. That brings a completely different set of skills, tools, and unknowns. It is a huge amount of work for an uncertain return, but the sheer scale, difficulty, and ambition of it is exactly what makes it an attractive backlog project.
This project is a Mandalorian costume from The Mandalorian TV series. The main draw is the armour. The helmet, chest plate, shoulder pads, and arm bracers are all defined by their highly polished chrome finish, which makes the costume instantly recognisable. Beyond the character itself, this sits on the backlog as a skills project. There is a large amount of guidance available for building Mandalorian armour and for achieving convincing chrome finishes on 3D printed parts. That makes it an ideal entry point for learning and refining a chrome process that can then be reused across multiple other builds. As a result, it is less about the costume alone and more about developing a transferable finishing technique that will carry forward into future projects.
This project is a full-size wooden tank inspired by the play area at the The Tank Museum. During a visit, we saw several 1:1 scale tanks built entirely from wood, designed as playground structures for children to climb over rather than as static displays. They were simple, bold, and immediately impressive.
A few of us who marshal at our airsoft site started talking about how effective something like that would be as a site feature. At some point I said, probably without thinking it through, "Yeah, I could build one". That comment has since turned into an expectation. The project is now to design and construct a full-size wooden tank that can live on the site as a permanent feature, drawing directly from the same approach seen at Bovington.
To wrap it up, this is the current backlog. It is not a promise, a schedule, or a guarantee of what gets built next. Priorities will shift, projects will jump the queue, and some ideas may sit here far longer than intended. If you have an idea for something you think I should build, or if there is a project on this list you would love to see pulled forward and made sooner rather than later, get in touch via the contact form. The backlog is alive, and it is always open to being nudged in a new direction.