The Assessment Process Of Patients In Intensive Care

The Assessment Process Of Patients In Intensive Care This essay will present a reflective account of communication skills in practice whist undertaking assessment and history taking of two Intensive Care patients with a similar condition. It will endeavour to explore all aspects of non verbal and verbal communication styles and reflect upon these areas using Gibbs reflective cycle (1988). Scenario A Mrs James, 34, a passenger in a road traffic collision who was not wearing a seatbelt was thrown through the windscreen resulting in multiple facial wounds with extensive facial swelling which required her to be intubated and sedated. She currently has cervical spine immobilisation and is awaiting a secondary trauma CT. Mr James was also involved in the accident. Scenario B Mr James, 37, husband of Mrs James, the driver of the car, was wearing his seat belt. He had minor superficial facial wounds, fractured ribs and a fractured right arm. He is alert and orientated but currently breathless and requiring high oxygen concentrations. Patients who are admitted to Intensive Care are typically admitted due to serious ill health or trauma that may also have a potential to develop life threatening complications (Udwadia, 2005). These patients are usually unconscious, have limited movement and have sensation deprivation due to sedation and/or disease processes. These critical conditions rely upon modern technical support and invasive procedures for the purpose of monitoring and regulation of physiological functions. Having the ability to effectively communicate with patients, colleagues and their close relatives is a fundamental clinical skill in Intensive Care and central to a skilful nursing practice. Communication in Intensive Care is therefore of high importance to provide information and support to the critically ill patient in order to reduce their anxieties and stresses. Effective communication is the key to the collection of patient information, delivering quality of care and ensuring patient safety. Gaining a patients history is one of the most important skills in medicine and is a foundation for both the diagnosis and patient clinician relationship, and is increasingly being undertaken by nurses (Crumbie, 2006). Commonly a patient may be critically ill and therefore the ability to perform a timely assessment whilst being prepared to administer life saving treatment is crucial. Often the patient is transferred from a ward or department within the hospital where a comprehensive history has been taken with documentation of a full examination; investigations, working diagnosis and the appropriate treatment taken. However, the patients history may not have been collected on this admission if it was not appropriate to do so. Where available patients medical notes can provide essential information. In relation to the scenarios where the patient is breathless or the patient had a reduced conscious level and requires sedation and intubation, effective communication is restricted and obtaining a comprehensive history would be inappropriate and almost certainly unsafe. The Nursing Midwifery Council promotes the importance of keeping clear and accurate records within the Code: Standards of Conduct, performance and ethics for nurses and midwives (NMC, 2008). Therefore if taking a patients history is unsafe to do so, this required to be documented. Breathing is a fundamental life process that usually occurs without conscious thought and, for the healthy person is taken for granted (Booker, 2004). In Scenario A, Mrs Jamess arrived on Intensive care and was intubated following her facial wounds and localised swelling. Facial trauma by its self is not a life threatening injury, although it has often been accompanied with other injuries such as traumatic brain injury and complications such as airway obstruction. This may have been caused by further swelling, bleeding or bone structure damage (Parks, 2003). Without an artificial airway and ventilatory support Mrs James would have struggled to breathe adequately and the potential to become in respiratory arrest. Within scenario B, Mr James had suffered multiple rib fractures causing difficulty in expansion of his lungs. Fractured ribs are amongst the most frequent of injuries sustained to the chest, accounting for over half of the thoracic injuries from non-penetrating trauma (Middle ton, 2003). When ribs are fractured due to the nature and site of the injury there is potential for underlying organ contusions and damage. The consequence of having a flail chest is pain. Painful expansion of the chest would result in inadequate ventilation of the lungs resulting in hypoxia and retention of secretions and the inability to communicate effectively. These combined increase the risk of the patient developing a chest infection and possible respiratory failure and potential to require intubation (Middleton, 2003). The key issue of Intensive Care is to provide patients and relatives with effective communication at all times to ensure that a holistic nursing approach is achieved. Intensive care nurses care for patients predominantly with respiratory failure and over the years have taken on an extended role. They are expected to examine a patient and interpret their findings and results (Booker, 2004). In these situations patient requires supportive treatments as soon as possible. Intensive Care nurse should have the ability and competence to carry out a physical assessment and collect the patients history in a systemic, professional and sensitive approach. Effective communication skills are one of the many essential skills involved in this role. As an Intensive Care nurse, introducing yourself to the patient as soon as possible would be the first step in the history and assessment taking process (Outlined in Appendix A). Whilst introducing yourself there is also the aim to gaining consent for the assessment where possible, in accordance with the Nursing and Midwifery Councils Code of Professional Conduct (NMC, 2008). Conducting a comprehensive clinical history is usually more helpful in making a provisional diagnosis than the physical examination (Ford, 2005). Within Intensive Care the Airway, Breathing, Circulation, Disability, Exposure/Examination (ABCDE) assessment process is widely used. It is essential for survival that the oxygen is delivered to blood cells and the oxygen cannot reach the lungs without a patent airway. With poor circulation, oxygen does not get transported away from the lungs to the cells (Carr, 2005). The ABCDE approach is a simple approach that all team members use and allows for rapid assessment, co ntinuity of care and the reduction of errors. Communication reflects our social world and helps us to construct it (Weinmann Giles et al 1988). Communication of information, messages, opinions, speech and thoughts are transferred by different forms. Basic communication is achieved by speaking, sign language, body language touch and eye contact, as technology has developed communication has been achieved by media, such as emails, telephone and mobile technology (Aarti, 2010). There are two main ways of communication: Verbal and non verbal. Verbal communication is the simplest and quickest way of transferring information and interacting when face to face. It is usually a two way process where a message is sent, understood and feedback is given (Leigh, 2001). When effective communication is given, what the sender encodes is what the receiver decodes (Zastrow, 2001). Key verbal features of communication are made up of sounds, words, and language. Mr James was alert and orientated and had some ability to communicate; he was breathless due to painful fractured ribs which hindered his verbal communication. In order to help him to breath and communicate effectively, his pain must be controlled. Breathless patients may be only able to speak two or more words at a time, inhibiting conversation. The use of closed questions can allow breathless patients to communicate without exerting themselves. Closed questions such as is it painful when you breathe in? or is your breathing feeling worse? can be answered with non verbal communi cation such as a shake or nod of the head. Taking a patients history in this way can be time consuming and it is essential that the clinician do not make assumptions on behalf of the patient. Alternatively, encouraging patients to use other forms of communication can aid the process. Non verbal communication involves physical aspects such as written or visual of communication. Sign language and symbols are also included in non-verbal communication. Non verbal communication can be considered as gestures, body language, writing, drawing, physiological cues, using communication devices, mouthing words, head nods, and touch (Happ et al, 2000). Body language, posture and physical contact is a form of non verbal communication. Body language can convey vast amounts of information. Slouched posture, or folded arms and crossed legs can portray negative signals. Facial gestures and expressions and eye contact are all different cues of communication. Although Mr. James could verbally communica te, being short of breath and in pain meant that he also needed to use both verbal and non verbal communication styles. A patients stay in Intensive Care can vary from days to months. Although this is a temporary situation and many patients will make a good recovery, the psychological impact may be longer lasting (MacAuley, 2010). When caring for the patient who may be unconscious or sedated and does not appear to be awake, according to Sisson (1990) hearing may be one of the last senses to fade when they become unconscious. Sedation is used in Intensive Care Units to enable patients to be tolerable of ventilation. It aims to allow comfort and synchrony between the patient and ventilator. Poor sedation can lead to ventilator asynchrony, patient stress and anxiety, and an increased risk of self extubation and hypoxia. (Ramsey et all, 2000). Over sedation can lead to ventilator associated pneumonias, cardiac instability and prolonged ventilation and Intensive Care delirium. Delirium is found to be a predictor of death in Intensive Care patients (Page, 2008). Every day a patient spends in delirium has be en associated with a 20% increase risk of intensive care bed days and a 10% increased risk of morbidity. The single most profound risk factor for delirium in Intensive Care is sedation. Within this stage of sedation or delirium it is impossible to know what the patients have heard, understood or precessed. Ashworth (1980) recognised that nurses often failed to communicate with unconscious patients on the basis that they were unable to respond. Although, research (Lawrence, 1995) indicates that patients who are unconscious could hear and understand conversations around them and respond emotionally to verbal communication however could not respond physically. This emphasises the importance and the need for communication remains (Leigh, 2001). Neurological status would unavoidably have an effect on Mrs Jamess capacity to communicate in a usual way. It is therefore important to provide Mrs James with all information necessary to reduce her stress and anxieties via the different forms of communication. For the unconscious patient, both verbal communication and non verbal communication are of importance, verbal communication and touch being the most appropriate. There are two forms of touch (Aarti, 2010), firstly a task orientated touch when a patient is being moved, washed or having a dressing changed and secondly a caring touch holding Mrs James hand to explain where she was and why she was there is an example of this. This would enhance communication when informing and reassuring Mrs James that her husband was alive and doing well. Nurses may initially find the process of talking to an unconscious patient embarrassing, pointless or of low importance as it is a one way conversation (Ashworth, 1980) however as previously mentioned researched shows patients have the ability to hear. Barriers to communication may be caused by physical inabilities from the patients however there are many types of other communication barriers. A barrier of communication is where ther e is a breakdown in the communication process. This could happen if the message was not encoded or decoded as it should have been. If a patient is under sedation, delirious or hard of hearing verbal communication could be misinterpreted. However there could also be barriers in the transfer of communication process (Kirby, 1997). The Intensive Care environment in itself can cause communication barriers. Intensive Care can be noisy environment with monitor and ventilator alarms and general movement of patients and staff, ensuring effective communication with explanations of the alarms at all times can alleviate any anxieties the patient and relatives may have. Other barriers can simply include language barriers, fatigue, stress, distractions and jargon. Communication aids can promote effective communication between patient and clinician. Pen and paper is the simplest form of non verbal communication for those with adequate strength. Weakness of patients can affect the movement of hand s and arms making gestures and handwriting frustration and difficult. Patients may also be attached to monitors and infusions resulting in restricted movements which can lead to patients feeling trapped and disturbed (Ashworth, 1980). MacAulay (2010) mentions that Intensive Care nurses are highly skilled at anticipating the communication needs of patients who are trying to communicate but find the interpretation of their communication time consuming and difficult. The University of Dundee (ICU-Talk, 2010) conducted a three year multi disciplinary study research project to develop and evaluate a computer based communication aid specifically designed for Intensive Care patients. The trial is currently ongoing, however this may become a breakthrough in quick and effective patient clinical and patient relative communication in future care. This assignment has explored communication within Intensive Care and reflected upon previous experiences. Communication involves both verbal and non verbal communication in order to communicate effectively in all situations. Researching this topic has highlighted areas in Intensive Care nursing which may be overlooked, for example ventilator alarms and general noise within a unit may feel like a normal environment for the clinians however for patients and relatives this may cause considerable amounts of concern. Simply giving explanations for such alarms will easily alleviate concerns and provide reassurance. From overall research (Alasad: 2005, Leigh: 2001, MacAuley, 2010: Craig, 2007) Intensive Care nurses believed communication with critically ill patients was an important part of their role however disappointedly some nurses perceived this as time consuming or of low importance when the conversation was one way (Ashworth, 1980). Further education within Intensive Care may be requ ired to improve communication and highlight the importance of communication at all times. Communication is key to ensuring patients receive quality high standard care from a multidisciplinary team, where all members appreciate the skills and contribution that others offer to improve patients care.

Summary and Synthesis with Steven Johnson

Harwood Eng 96Spring 13 Paper #3: Summary and Synthesis with Steven Johnson Your third High Stakes Writing Assignment comes in two parts. The first asks you to summarize and the second asks you to employ some of Johnson’s concepts to collect data of your own. Part 1: Summary For this part, write a 1 to 2 page summary of Johnson’s Television section, covering Multiple Threading and as much of Flashing Arrows and Social Networking as you are able. Focus mainly on his ideas, but be sure to give some indication of his evidence and how it’s presented. What shows does he use to support his ideas?How does he make his points? Your summary should start with a paragraph about Johnson’s thesis and then use paragraphs of ideas and supporting evidence from the book to round out the content you cover. Remember CABIN. Part II: Synthesis Use Johnson’s concepts of Multiple Threading and Social Networking (see p. 110-112) in television to compare two similar shows of your own choosing (they must be separated by at least 20 years). Your main assignment for this part is to visually represent your research using charts similar to those Johnson uses on p. 0 and 112. Write two pages describing your findings and whether you 1. support (agree with) Johnson’s idea that multiple threading and social networking are on the rise – and that TV is therefore becoming more challenging and complex. OR 2. refute Johnson’s claims based on findings different from those he sees in his analysis. 1 or 2 here should lead directly to your thesis, which you’ll support by looking at paragraphs about multiple threading and social network schemes.The writing portion of your synthesis should should answer the following question: Having looked at several examples of television shows yourself, do you see the same heightened complexity and challenge that Johnson claims in today’s television? For your synthesis, you will be graded on your char ts and visual representation of your data as well as how you write it up. I’m looking at whether you understand Johnson’s methods and whether you can duplicate this analysis while critically watching TV yourself. Harwood Eng 96 Spring 2013Schedule of upcoming classes: | |What we’ll work on in class |Homework due in next class period | | | |(all reading s/b ACTIVE) | |4/9 |Discuss Games section of EBIGFY |Write (typed) summary of Games section of the book. This | | |Round out games outline |assignment will be graded.Length: 0. 5 to 1 full page (not | | |Model concept of Games Summary |more). | |4/11 |Talking about TV: Main Ideas – What are the trends and |Finish reading TV section in EBIGFY (Through 115) | | |evidence? |Choose your TV shows for Synthesis and start watching them | | |Use 30 Rock example to look at strategy for Synthesis. |Work on outline of TV section | | |Talk about genres of shows and which fit together. | |4/16 |Talking about data analy sis: how to synthesize our own |Write a Rough Draft of TV section summary (not less than one| | |looks at what Johnson sees. |typed page/max of 2—See back side. ] | | |Go over outline of TV section |Have your two TV shows chosen and start watching them, | | | |collecting data. | |4/18 |Peer Review of TV Summaries |Finish final draft of TV Summary. | |More talk about how to do charts and synthesis |Finish charts for Johnson synthesis assignment to turn in. | | |representation: MT and SN |Finish Reading Part I of EBIGFY (136) | |4/23 |Discuss Internet and Movies |Write up Rough Draft for Synthesis (agree/disagree based on | | |Ideas on synthesis conclusion: how to write it up/argument |evidence) | | |statement. | |4/25 |Peer Review of TV Synthesis |Write Final Draft of Synthesis. | | |Start discussion of Johnson’s Part II. What is Smart? |Actively read Pt. 2 to 156 | |4/30 |Turn in Final draft of Synthesis |MORE to come†¦ |

Death and Absurdism in Camus’s The Stranger Essay

In his novel The Stranger1, Albert Camus gives expression to his philosophy of the absurd. The novel is a first-person account of the life of M. Meursault from the time of his mother’s death up to a time evidently just before his execution for the murder of an Arab. The central theme is that the significance of human life is understood only in light of mortality, or the fact of death; and in showing Meursault’s consciousness change through the course of events, Camus shows how facing the possibility of death does have an effect on one’s perception of life. The novel begins with the death of Meursault’s mother. Although he attends the funeral, he does not request to see the body, though he finds it interesting to think about the effects of heat and humidity on the rate of a body’s decay (8). It is evident that he is almost totally unaffected by his mother’s death – nothing changes in his life. In other words, her death has little or no real significance for him. When he hears Salamano, a neighbor, weeping over his lost dog (which has evidently died), Meursault thinks of his mother – but he is unaware of the association his mind has made. In fact, he chooses not to dwell on the matter but goes to sleep instead (50). It is when he is on the beach with Raymond Sintà ¨s and M. Masson and they confront two Arabs (who have given Raymond trouble) that Meursault first seems to think about the insignificance of any action – therefore of human existence. He has a gun and it occurs to him that he could shoot or not shoot and that it would come to the same thing (72). The loss of a life would have no significance – no affect on life as a whole; and the universe itself is apparently totally indifferent to everything. Here he implicitly denies the existence of God, and thus denies morality, as well as the â€Å"external† meaning (if it may be so distinguished from the internal or individual existential meaning) of life and dea th. (This latter, existential meaning is later affirmed, as we shall see.) Meursault kills one of the Arabs in a moment of confusion, partially out of self-defense, but does not regret it eve though it means going to prison and, ultimately, being executed. He has the fatalistic feeling that  Ã¢â‚¬Å"what’s done is done,† and later explains that he has never regretted anything because he has always been to absorbed by the present moment or by the immediate future to dwell on the past (127). In a sense, Meursault is always aware of the meaninglessness of all endeavors in the face of death: he has no ambition to advance socio-economically; he is indifferent about being friends with Raymond and about marrying Marie; etc. But this awareness is somehow never intense enough to involve self-awareness – that is, he never reflects on the meaning of death for him – until he is in prison awaiting execution. Of course, the â€Å"meaning† of another’s death is quite difference from the â€Å"meaning† of one’s own death. With the former, one no longer sees that person again; with the latter, one’s very consciousness, as far as we know, just ends – blit! – as a television picture ends when the set is switched off. Death marks all things equal, and equally absurd. And death itself is absurd in the sense that reason or the rational mind cannot deal with it: it is a foregone conclusion, yet it remains an unrealized possibility until some indeterminate future time. The â€Å"meaning† of death is not rational but, again, is existential – its implications are to be found not in abstraction but in the actuality of one’s life, the finality of each moment. Before his trial, Meursault passes the time in prison by sleeping, by reading over and over the newspaper story about the (unrelated) murder of a Czech, and by recreating a ment al picture of his room at home in complete detail, down to the scratches in the furniture. In this connection, it must be admitted that he is externally very sensitive and aware, despite his lack of self-understanding and emotional response. This is evidence by his detailed descriptions. He is especially sensitive to natural beauty – the beach, the glistening water, the shade, the reed music, swimming, making love to Marie, the evening hour he like so much, etc. He even says that if forced to live in a hollow tree truck, he would be content to watch the sky, passing birds, and clouds (95). After his trial (in which he is sentenced to be executed), he no longer indulges in his memories or passes the time in the frivolous way he was accustomed to spend Sundays at home. At first, he dwells on thoughts of escape. He cannot reconcile the contingency of his sentence (Why guilt? Why sentenced by a French court rather than a Chinese one? Why was the verdict read at eight pm rather than at five? etc.) with the mechanical certainty of  the process that leads inevitably to his death (137). When he gives up trying to find a loophole, he finds his mind ever returning either to the fear that dawn would bring the guards who would lead him to be executed, or to the hope that his appear will be granted. To try to distract himself from these thoughts, he forces himself to study the sky or to listen to the beating of his heart – but the changing light reminds him of the passing of time towards dawn, and he cannot imagine his heart ever stopping. In dwelling on the chance of an appeal, he is forced to consider the possibility of denial and thus of execution; therefore, he must face the fact of his death – whether it comes now or later. One he really, honestly admits death’s inevitability, he allows himself to consider the chance of a successful appeal – of being set free to live perhaps forth more y ears before dying. Now he begins to see the value of each moment of the life before death. Because of death, nothing matters – except being alive. The meaning, value, significance of life is only seen in light of death, yet most people miss it through the denial of death. The hope of longer life brings Meursault great joy. Perhaps to end the maddening uncertainty and thus intensify his awareness of death’s inevitability (therefore of the actuality of life), or, less likely, as a gesture of hopelessness, Meursault turns down his right to appeal (144). Soon afterwards, the prison chaplain insists on talking to him. Meursault admits his fear but denies despair and has no interest in the chaplain’s belie in an afterlife. He flies into rage, finally, at the chaplain’s persistence, for he realizes that the chaplain has not adequately assessed the human condition (death being the end of life) – or, if he has, the chaplain’s certainties have no meaning for Meursault and have not the real value of, say, a strand of a woman’s hair (151). Meursault, on the other hand, is absolutely certain about his own life and forthcoming death. His rush of anger cleanses him and empties him of hope, thus allowing him finally to open up — completely and for the last time — to the â€Å"benign indifference of the universe† (154). He realizes that he always been happy. The idea of death makes one aware of one’s life, one’s vital being – that which is impermanent and will one day end. When this vitality is appreciate, one feels free – for there is no urgency to perform some act that will cancel the possibility of death, seeing as though there is no such act. In this sense, all human activity is absurd, and the real freedom is to be aware of life in its actually and totally, of its beauty and its pain. Albert Camus’ The Stranger What if the past has no meaning and the only point in time of our life that really matters is that point which is happening at present. To make matters worse, when life is over, the existence is also over; the hope of some sort of salvation from a God is pointless. Albert Camus illustrates this exact view in The Stranger. Camus feels that one exists only in the world physically and therefore the presence or absence of meaning in one’s life is alone revealed through that event which he or she is experiencing at a particular moment. These thoughts are presented through Meursault, a man devoid of concern for social conventions found in the world in which he lives, and who finds his life deprived of physical pleasure–which he deems quite important–when unexpectedly put in prison. The opening line of the novel sets the tone for Meursault’s dispassion towards most things. The novel is introduced with the words: â€Å"Maman died today. Or yesterday maybe, I don’t know† (3). Although the uncertainty originates with an ambiguous telegram, it seems that the ton†¦ †¦ middle of paper †¦ †¦ or their emotions in general. He does not follow ‘conventional’ social beliefs nor does he believe in God, nor salvation. Meursault however loves his life. It is a pure love derived from enjoying his existence on a day-to-day basis, rarely looking back and never looking forward. His love is not dependent on doing what society or some religion has deemed correct, but on what he feels he wants to do despite what most would consider common. In Albert Camus’ â€Å"The Stranger† the â€Å"story of an ordinary man who gets drawn into a senseless murder† is told. Taking place in Algeria this man, Meursault, is constantly in a climate of extreme warmth, as are all the inhabitants therein. The sun, the source of light and the cause of this warmth, is thus a vital and normal part of his life. It brings warmth and comfort yet it can also cause pain and sickness. Throughout most of his life Meursault has lived with the conflicting forces of the sun and light, as a friend and foe. However in Chapter 6 these forces become unbalanced and the sun becomes an aggressor causing Meurault physical pain and jolting him into violent action. Although the sun becomes increasingly aggressive as the novel transpires, in the beginning its forces were balanced causing some good and some bad effects. The most evidence of the sun as a foe is found during Meursault’s mother’s wake and funeral. During the wake Meursault is constantly â€Å"blinded† by the bright light. This combined with â€Å"the whiteness of the room† â€Å"[makes his] eyes hurt.† However, this same light also creates a â€Å"glare on the white walls†¦.making [him] drowsy† and allowing him respite from the knowledge of his mother’s death. So, all at once light was good as well as bad for Meursault. Again, during the funeral â€Å"with the sun bearing down† the heat was â€Å"inhuman and oppressive,† causing Meursault great physical discomfort. Yet, in the same token, the heat is also â€Å"making it hard for [Meursault] to †¦think straight† thereby allowing him an escape from his mo ther’s death. Not all of the sun’s effects have a flip side however; throughout the novel â€Å"the sun [does Meursault] a lot of good,† by warming him and making him feel alive. Thus, although both positive and negative situations come from the†¦ Work Cited Camus, Albert. The Stranger. Trans. Matthew Ward. New York: Vintage International, 1989.

Mitsubishi A6M Zero Fighterâ€World War II

Most people hear the word Mitsubishi and think automobiles. But the company was actually established as a shipping firm in 1870 in Osaka Japan, and it quickly diversified. One of its businesses, Mitsubishi Aircraft Company, founded in 1928, would go on to build lethal fighter planes for the  Imperial Japanese Navy during World War II. One of those planes was the A6M Zero Fighter. Design Development The design of the A6M Zero began in May 1937, shortly after the introduction of the Mitsubishi A5M fighter. The Imperial Japanese Army had commissioned Mitsubishi and Nakajima both to build the planes, and the two companies  began preliminary design work on a new carrier-based fighter while waiting to receive the final requirements for the aircraft from the army. These were issued in October and were based upon the A5Ms performance in the ongoing  Sino-Japanese  conflicts. The final specifications called for the aircraft to possess two 7.7 mm machine guns, as well as two 20 mm cannon. In addition, each airplane was to have a radio direction finder for navigation and a full radio set. For performance, the Imperial Japanese Navy required that the new design be capable of 310 mph at 13,000 ft. and possess an endurance of two hours at normal power and six to eight hours at cruising speed (with drop tanks). As the aircraft was to be carrier-based, its wingspan was limited to 39 ft. (12m). Stunned by the navys requirements, Nakajima pulled out of the project, believing that such an aircraft could not be designed. At Mitsubishi, the companys chief designer, Jiro Horikoshi, began toying with potential designs. After initial testing, Horikoshi determined that the Imperial Japanese Navys  requirements could be met, but that the aircraft would have to be extremely light. Utilizing a new, top-secret aluminum, T-7178, he created an aircraft that sacrificed protection in favor of weight and speed. As a result, the new design lacked armor to protect the pilot, as well as the self-sealing fuel tanks that were becoming standard on military aircraft. Possessing retractable landing gear and a low-wing monoplane design, the new A6M was one of the most modern fighters in the world when it completed testing.   Specifications Entering service in 1940, the A6M became known as the Zero based on its official designation of Type 0 Carrier Fighter. A quick and nimble aircraft, it was a few inches under 30 feet in length, with a wingspan of 39.5 feet, and a height of 10 feet. Other than its armaments, it held only one crew member, the pilot, who was the sole operator of the  2 Ãâ€" 7.7 mm (0.303 in) Type 97 machine gun. It was outfitted with two 66-lb. and one 132-lb. combat-style bombs, and two fixed 550-lb. Kamikaze-style bombs. It had a range of 1,929 miles, a maximum speed of 331 mph, and could fly as high as 33,000 feet. Operational History In early 1940, the first A6M2, Model 11 Zeros arrived in China and quickly proved themselves as the best fighter in the conflict. Fitted with a 950 hp Nakajima Sakae 12 engine, the Zero swept Chinese opposition from the skies. With the new engine, the aircraft exceeded its design specifications and a new version with folding wingtips, the A6M2, Model 21, was pushed into production for carrier use. For much of World War II, the Model 21 was the version of the Zero that was encountered by Allied aviators. A superior dogfighter than the early Allied fighters, the Zero was able to out-maneuver its opposition. To combat this, Allied pilots developed specific tactics for dealing with the aircraft. These included the Thach Weave, which required two Allied pilots working in tandem, and the Boom-and-Zoom, which saw Allied pilots fighting on the dive or climb. In both cases, the Allies benefited from the Zeros complete lack of protection, as a single burst of fire was generally enough to down the aircraft. This contrasted with Allied fighters, such as the P-40 Warhawk and F4F Wildcat, which, though less maneuverable, were extremely rugged and difficult to bring down. Nevertheless, the Zero was responsible for destroying at least 1,550 American aircraft between 1941 and 1945. Never substantially updated or replaced, the Zero remained the Imperial Japanese Navys  primary fighter throughout the war. With the arrival of new Allied fighters, such as the F6F Hellcat and F4U Corsair, the Zero was quickly eclipsed. Faced with superior opposition and a dwindling supply of trained pilots, the Zero saw its kill ratio drop from 1:1 to over 1:10. During the course of the war, over 11,000 A6M Zeros were produced. While Japan was the only nation to employ the aircraft on a large scale, several captured Zeros were used by the newly-proclaimed Republic of Indonesia during the Indonesian National Revolution (1945-1949).