The name suggests a shard or a crack, but what is drawn on the blade is a schematic: glowing cyan concentric rings, radial ticks and fine grid lines over near-black steel, the sort of thing a targeting overlay would put on a screen. The pattern carries onto the guard and the grip, and the brightest lines sit around a large disc set just behind the point. The M9 Bayonet is a fighting knife the US Army adopted in 1986, and its scabbard turns it into a wire cutter.

The view model holds 2,112 polygons against the stock knife’s 1,040, on 40 bones, under thirteen textures: three hand maps at 252×255, 124×126 and 252×123 under the porter’s own file names, and ten parts of the knife, among them 200×989 and 204×1001 for the faces of the blade. There is no chrome map, so the glow is painted rather than reflected. The idle runs 360 frames, the draw 30 and each slash 36. This archive is one of the few that covers all three models: the third-person knife and the dropped one are both rebuilt at 10,125 polygons, against 112 for the stock third-person model, each on a single 512×512 map. No sounds come with it.