Sketchley's Translations Main Index
By AARON SKETCHLEY ( Ver 2.0 2014.10.20

Great Mechanics 8: Macross Zero Feature
"Macross Zero Feature." Great Mechanics. 15 Apr. 2003: 104-111. Print.

Table of Contents

Macross Zero: VF-0 & SV-51 - The Latest Setting Is Released

Pg. 104

Macross Zero: VF-0 & SV-51
The Latest Setting Is Released

Chapter 2 of "Macross Zero", which is aimed at the meaning of the theory in the production, is on sale in early summer with a delta-winged model Valkyrie that hasn't appeared before. We're introducing the latest "Macross Zero" setting here together with the Anti Unification Forces VF, the SV-51.

Caption: The S model that was active in Chapter 1. The colouring of the D model is also expected to be different from the Fokker aircraft. In the next issue, we will be able to introduce the gallant figure of the D model from during the anime.

In Chapter 2, the protagonist Kudo Shin boards a VF for the first time. The aircraft given to Shin when he is newly assigned to a VF unit was the two-seater D model, which has attack abilities that are increased even more than those in the the base VF-0A and S models -which have already been thrown into combat-, and was developed aiming at an improvement in the VF-0's electronic warfare abilities.
The features of this airframe are the points where canards are placed on the fuselage to improve stability when in Fighter, and the swing-wing main wings being done away with and being furnished with delta wings that have even greater manoeuvrability when at subsonic speeds. As a result, the VF-0D's climbing ability and manoeuvrability during dogfights surpasses that of the A model.
On the other hand, as the enlarged wing area of the main wings isn't completely housed when in Battroid, the VF-0D's manoeuvrability when in Battroid is somewhat inferior compared to the A and S models.
However, by making it into a two-seater type, firearm control by the co-pilot and support while fighting due to electronic warfare becomes possible, and the VF-0D's combat abilities improve. In compensation for the deterioration in manoeuvrability when in Battroid, it possesses abilities that balance it out.
This time, we're comparing the shape of the latest setting pictures that have been publicly released with the CG for the VF-0S model that appeared in Chapter 1.
When one compares the Battroid forms, even though there are great differences in the basic parts, the form of the D model, which is similar to a cloak, stands out. The wings, which aren't finished settling on the humanoid, increase the volume of the fuselage, and it becomes clear that the VF-0D has an even more massive impression.

Caption: The main wings are like a cloak, and one can grasp the directing of a hero-like Battroid form.

VF-0D Model
Production Design: joint development of Northrop Grumman / Stonewell / Shinsei (D model is a joint development of Northrop Grumman / Stonewell / Bellcom)
Length: 18.69 m
Empty Weight: 16,791 kg (D model 16,805 kg)
Engine: EFG-127 Turbine Jet Kai (91.08 kN, with afterburner 148.9 kN) x2; GERWALK and Battroid use Manoeuvring Rocket Motor (Shinnakasu ARR-2) x3
Maximum Speed: Mach 2.74 (D model Mach 2.62) at 11,000 m
Cruising Range: 2,075 km (D model 2,400 km) when equipped with standard dorsal conformal tanks
Ceiling: 25,000 m (D form 26,500 m)
Armament: Fixed Equipment: Mauler Laser Machinegun x1 (A model), or x2 (S model)
Standard Armament: 35 mm Gatling Gun Pod
(Howard GPU-9 loaded with 550 shells, can use AHEAD* shells) x1
Standard Air-to-Air Specification: AMRAAM-2 Medium Range Air-to-Air Missile
(Raytheon Bifors AIM-200A I/ALH guided) (maximum loading number: 12) There are 2 hardpoints under the main wings, for a total of 4, that are equipped with dedicated 3-shot racks.
Enhancement Armaments:
Endo-Atmospheric Combat Super Parts
(Micro-missile Launcher and Conformal Tank) x2
24x Micro-missiles (Raytheon Ericomm GH-30B I/IR Guided) are stored in each. They can also stow a spare magazine for the gun pod. The D model's maximum payload exceeds the A/S models by about 20%.
The VF-0 can be equipped with the majority of the former US and NATO standard aircraft armaments.
Defensive Armaments: Chaff and Flare Dispenser System
(AN/ALE55 x1, IDECM, AN/ALQ220 A)
Active Stealth System (ASS / PS110)
SWAG Energy Conversion Armour System (AWAG / RA 105), etc..
Underwater Action: underwater action is possible for about a few minutes in silent mode. The action limit depth is about 20 m.

* Translator's note: AHEAD: Advanced Hit Efficiency And Destruction

Pg 105

State Of The Art! The Introduction Of A Delta Winged Valkyrie!!

VF-0D Model Fighter Form
Caption: Due to the delta wings with their vast wing area and the canards that are installed on the sides of the intakes, which adjust the stream of airflow and enhance aircraft stability when in a dogfight, the fuselage shape is greatly different from the S model. The delta wings -which adhere to a sweptback angle- slow the generation of shock waves, and when combined with the canards, make it possible to delay stalling and improve manoeuvrability. Also, as the airframe volume increases, there are the advantages of an increased cruising range and it becomes possible to load many armaments under the wings.

Caption: The Fighter form of the swing-wing type S model has a smarter impression when compared to the D model, because the wing area is smaller. Although its maximum speed surpasses that of the D model, the S model's manoeuvrability is lower.

VF-0D Model GERWALK Form
Caption: The GERWALK form of the D model is the form that is greatly different from the S model that we're familiar with. The delta wings of the D model have panels that project forward from the tips of the wing like a dog's teeth, and are called Dogtoothing. As a result, air currents are prevented from reaching the wingtips by producing airflow eddies on the wing surface, and it results in the prevention of wingtip stalls. Due to that, airframe stability when in Fighter is even higher. When in GERWALK, the wingtips operate turned up from the Dogtooth. From the underside of the aircraft, the excessively heavy strong delta wings have a great hovering performance when the S model is compared to the D model.

Caption: The GERWALK form of the S model has a form impression that is greatly different, absolutely from the differences in wing volume. The stability that the delta wings have can be grasped from even the persuasive power of their appearance.

Pg 106

Caption: The SV-51 differs from the VF-0 - it doesn't use variable sweep wings, and the main wings have a unique, long, horizontal shape. For that reason, the main wings are folded up and stowed away from their center when transforming to Battroid. The impression of the exterior of the aircraft is quite different compared to the VF-0.

Unified Forces SV-51*
Production Design: joint development of Sukhoi / Israel Aircraft Industries / Dornier
Length: 22.77 m
Empty Weight: 17,800 kg
Engine: Aviadvigatel D-30 F 6 X Turbofan jet
(102.5 kN, with afterburner 204.7 kN) x2
VTOL Fan-jet x2 (they operate as high-mobility jets in Battroid form)
Maximum Speed: Mach 2.81 at 11,000 m
Cruising Range: 1,910 km when equipped with standard Composite Micro-Missile Launcher & Drop Tanks Pods
Ceiling: 22,500 m
Armaments: fixed equipment: Mini-gun (Gsh-231 12.7 mm Machine-gun) x1
Standard Armament: 55 mm Gun-pod x1
(Gsh-371 loaded with 120 shells) (it is normally equipped with a spare magazine x1 in the rear of the fuselage)
Composite Micro-Missile Launcher & Drop Tanks Pods x2
(they are normally equipped on 2 out of the 6 hardpoints under the main wing)
Micro-missiles 18 (Turopov SA-19M I/IR guided) are stored in each.
The SV-51 can be equipped with the majority of the former Warsaw Pact Forces standard aircraft armaments.
Defensive Armaments: SPO-15C 360 degree Passive Radar Warning Reception System Chaff and Flare Dispenser System (APP-60) x1
Active Stealth System (RP-51), SWAG Energy Conversion Armour System (SW-51), and others.
Within Sea Takeoff Enabled: a few improved SV-51 exist for takeoff and flight from within the sea from a submarine. It is possible to do the underwater takeoff from periscope depth to 30 m below the surface. After the SV-51 is shot out of the submarine by compressed air and advances into the air with a rocket motor, it shifts to flight with the conventional turbojet engines. These aircraft has been waterproofed, and in addition to strengthening to resist pressure, the modifications include a folding mechanism in the wings so the SV-51 can fit in the compact takeoff dock inside the submarine.

* Translator's note: typo as it appears. Earlier, it's rendered as "Anti Unification Forces".

The aircraft that opens up a fierce battle with the VF-0 in Chapter 1 is the Anti Unification Forces' SV-51 Variable Fighter. Unlike the VF-0, which was developed as an experimental aircraft, the prototype SV-51, which was developed from the beginning with the purpose of being operationally deployed, surpass the VF-0 in the utility and stability aspects. On the other hand, it has the weakness of a short cruising range because high-output engines were installed in it, and it is given heavy armaments. Also, the power of the parts isn't sufficient, and the time it needs to transform is even longer than that of the VF-0. However, it is certain that the SV-51 doesn't have a performance that is inferior to the VF-0, and it has an existence that certainly becomes a threat for the Unified Forces.

Caption: The SV-51 setting picture. With canards arranged behind the cockpit, one can sense the height of its stability. Also, the vertical takeoff and landing fans are arranged in the neighbourhood of the center of the fuselage, and when combined with the variable main nozzles, they enable vertical takeoff and landing as-is in Fighter form.

Caption: The Battroid form gives a curved humanoid impression when compared to the VF-0. This form with its wings spread, has a style that seems to remind one of an Oriental demon.

Caption: Of course the transformation to GERWALK form is possible. Even though it compares unfavourable to the VF-0 in the electronics aspect, the large-scale airframe also possesses the Active Stealth function.


Behind The Scenes Of The Setting For The Macross Series

Pg 107

Macross Zero: Behind The Scenes Of The Setting For The Macross Series - A Special Conversation

Setting Producer Chiba Masahiro
His main vocation is as a physician. In the "Macross" series, he is in charge of setting investigations. As a friend of director Kawamori from his semi-pro days, he cooperated in the setting production even in "Macross Zero". He is also the model for "Dr. Chiba" in "Macross 7".

Director Kawamori Shoji
Starting from the mechanical designs for "Super Dimensional Fortress Macross", he is the central person in the production of the "Macross" series that continues even now. He is the director of "Macross Zero", the most recent production.

Don't you agree that knowing the detailed setting for the mecha in the "Macross" series begins with the Valkyries? This is the "official unofficial setting", so to speak, that was made on the assumption of "conjecture that was analyzed by that military commentator". This time, the mecha of "Macross Zero" were also produced with a setting like that, and now this magazine's manuscript was made based on that setting.
Mr. Chiba Masahiro, "Dr. Chiba", is in charge of this "official unofficial setting" in the "Macross" series in general. The "Macross" series mecha setting production are by what way of thinking? This time, we seem to catch a glimpse of a part of fun of setting creation through a conversation with Mr. Chiba Masahiro, and Mr. Kawamori Shoji, who is the director of "Macross Zero".

Don't you agree that knowing the detailed setting for the mecha in the "Macross" series begins with the Valkyries? This is the "official unofficial setting", so to speak, that was made on the assumptions of "conjecture that was analyzed by that military commentator". This time, the mecha of "Macross Zero" were also produced with such a setting, and now this magazine's manuscript was made based on that setting.
In general, Mr. Chiba Masahiro, "Dr. Chiba", is in charge of this "official unofficial setting" in the "Macross" series. By what way of thinking is the "Macross" series mecha setting produced? This time, we seem to catch a glimpse of a part of the fun of setting creation through a conversation with Mr. Chiba Masahiro, and Mr. Kawamori Shoji, who is the director of "Macross Zero".

"I make up the data only from its outward appearance."

- It seems that Mr. Kawamori and Mr. Chiba are acquaintances from around the time of an SF fan social meeting, a Christmas Concert that was organized by the Studio Nue members. What circumstance and position does Mr. Chiba have to do with "Macross"?
Kawamori: "Speaking of our origins, the chance came with the setting supplement-like doujinshi that was made at the time of the "Mobile Suit Gundam" movie, called "Gun-sight". It was like a mecha manual, and was later a book that developed into "Gundam Century". That setting book became the start, and its not impossible to say that our relationship began with the supremacy of the tendency for rule-like setting sensitivity that cannot be removed from the current real robot [genre]. Is it a good convention or a bad convention? Even now that hasn't become clear for me (laughs)."
Chiba: "I read "Gun-sight" and thought it was interesting. However, Studio Nue started production on "Super Dimensional Fortress Macross" after that. And Mr. Kawamori himself was busy making a literal setting for "Macross" that resembled "Gun-sight". When Mr. Kawamori started the production where long-awaited mecha played a central role, the position for a person who made such a manual became gapingly empty! As far as I was concerned, I had the feeling of "ah, here's my chance", and I first did the setting publication as, uhm, a doujinshi (laughs)."
Kawamori: "In that way, it certainly was a godsend for me! (laughs)."
Chiba: "After that, during the time that I was a mecha assistant under Studio Nue's Mr. Miyatake, Mr. Kawamori made the theatrical edition of "Macross". Then, he entrusted me with the coordination of the "Macross" chronology, and he also even entrusted me with the chronology and fighter aircraft specs that he wanted to make for "Macross 7" and "Macross Plus". And that was the reason why I got the position like the one I have now."
Kawamori: "So, because his long-awaited assistance was only for that, at the time of "7" we talked about an appearance in the series, and he appeared on-screen as Dr. Chiba. Even in "Zero", he's continuing to do the setting literature concerning such things as the mecha."
- Regarding the setting of "Zero", I wonder if you're still arranging it in detail?
Chiba: "As a matter of fact, we don't talk that much about it."
Kawamori: "From around the Christmas Concert, we've grown to have the same atmosphere, and some things don't need to be specifically said between us. We send a request for setting production to him. And he does the job with such an awesome speed, that by the time that we make the arrangements for the next business meeting, he's almost invariably finished it."
Chiba: "Concerning the setting, the aircraft data is made only from the outward appearance of the design. As the VF-0 is the bond that's midway between the F-14 and the VF-1, it's an aircraft with borders that are fairly pinned down, and it was easy to imagine. Nevertheless, it's difficult to apply incorrect facts to "Zero", because it has the significance of being a story set roughly in the present. While worrying about parts like that, I pulled out and took out F-14 and Sukhoi manuals for references. Although it would've been adequate to put only the code names of the ECM pods and so on on it, that wasn't going to happen, and I checked up on the things in detail. (con't)"

Pg 108

(con't) Eventually, such things as the detail numbers are often 1 or 2 digits added to the numbers on the current state-of-the-art systems. Although there might be the possibility of something with the same number already existing, there is a clear cut solution for that. The world of "Macross" diverges from the real world in 1999. And as the setting itself is a grey zone, it's not something where we can say 'this is official'."
Kawamori: "From 'Century', it's said that various anime companies wanted to make the literal setting, but I lost the enjoyment of creating when preparing too much on the production side for the side that will be participating later. So, in some respects, I had the feeling that it would personally be more interesting to ask a person who wasn't directly in the production side to produce the setting. As the degree of freedom is too high, I can do anything when I make a production for myself, however, I cannot narrow down the setting. Afterwards, the parts where a setting doesn't already exist are used, and because I thought I could do something else, the setting cannot be readily fixed."
Chiba: "So, even in the setting this time there are still some parts that haven't been decided. According to the direction of the story, I think that I sometimes asked him, 'did you add such a function?' Conversely, there were also things like "that setting is troubling". Then it comes to: if there is such a function, then the story won't come to a standstill here, and the hero cannot help but be in a predicament."

"The images are of a distorted world."

Chiba: "Because anything can be done when you use a lot of Over Technology elements in the setting, it is necessary to a certain extent to put limits on it."
Kawamori: "Actually, with the VF-1, the setting where it has an infinite cruising range in the atmosphere conversely became a restraint from the viewpoint of producing the story. Running out of fuel, more than a video series with a small episode number like now, is in truth a situation that's easy to use in a TV series that has some length to it. However, thanks to the setting, the VF-1 doesn't run out of fuel (laughs)."
- The VF-0 seem to have a setting where it easily runs out of fuel, in proportion to it being able to put out Valkyrie-like power with engines from currently used armaments.
Kawamori: "Nevertheless, those currently used armaments are also considerably unthinkable machines, and normal people don't really recognize that. It's likely that the Japanese people think that tanks are larger than aircraft. There isn't enough people now who seriously recognize the size of the currently used fighter aircraft."
Chiba: "They cannot grasp that when converted into horse-power, the engine thrust of an airplane becomes several hundred thousand horse-power. Conversely, even though tanks have merely a thousand and several hundred horse-power, normal people seem to feel that tanks have more horse-power. If you properly think about it, it'll become clear. But, with about that much horse-power, an approximately 40 t tank does such things as jumps." Kawamori: "In reality, light aircraft are loaded with engines with several hundred thousand horse-power more than a tank. How outrageous is that? If you use that thrust directly on the ground, than the airplane is truly a monster!"
Chiba: "Airplanes and tanks are like that, but isn't there a lot of people who know only secondary and tertiary information about them? So, such people think that they see "Gundam" and understand mecha. Although one might say that its possible to improve on that somewhat, it's mainly because some people cannot help but be willing to learn only through anime."

Caption: The consecutive firing of a Sidewinder and AMRAAM. The missile types are reproduced with the differences in their flame colour. However, it was difficult for people who don't have knowledge on fighter aircraft to understand.

Caption: The MiG was defeated by the radar guided AMRAAM, which was fired second. Even though the MiG avoided the Sidewinder with flares, the depiction of the AMRAAM being too hard to avoid is indeed difficult, and it seems to reflect that some kind of follow-up [to the Sidewinder] was necessary.

- In the setting this time, the current strongest jet engines are tuned, and get a 15% output increase. When it is in context, it seems to be expressed as three times.
Kawamori: "He said three times! (laughs) However, in order to put out three times the speed, in actuality you're bound to need nine times the energy!" Chiba: "The engines of actual fighter aircraft and bombers don't put out 100% of their output, right? Because they'd break when they put that much power out! (laughs) Even military thrust that doesn't use afterburner is about 80%. So, that 15% increase only negates a bit more of the surplus in the engines."
Kawamori: "In reality, the engines of the cars that normally run downtown rarely break, but the F1 machines roll over and break. When one approaches the upper limits of performance, the barrier beyond that point is very thick. The sense of balance for anime productions is difficult in that area... (con't)

Pg 109

(con't) Because a lot of people grow accustomed to the anime context, they don't get it when you reduce the numbers for the setting, and it's embarrassing if we increase those numbers. To the utmost, it is necessary to have the recognition somewhere that when doing it in a visual medium, the reality is based on a deformed world."
Chiba: "So, conversely even if you watch "Zero" and say "an F-14 cannot do those manoeuvres", it's because that's being presented in anime. (laughs) However, the "Macross" series is comparatively unkind with its explanations related to mecha in "Plus" and "Zero". Because they were made based on the intent that the people who understand that stuff would follow them. The sidewinder is shot first in the F-14 battle scene in "Zero". However, because it's an infrared pursuit missile, the enemy evades it with flares; and Shin, who anticipates that, simultaneously fires an AMRAAM (Advanced Medium Range Air-To-Air Missile). Because the AMRAAM is a radar guided missile, it cannot be avoided, and hits. However, understanding that that is an AMRAAM from the situation where the aircraft's nose isn't facing the enemy aircraft, as it cannot be guided by radar if it's a Sparrow [missile] and the nose doesn't remain facing the enemy aircraft. So, because it was fired when the nose wasn't facing the enemy, then one gets that it's an AMRAAM... however, as one would expect, I think it's a sequence that some people don't get."

Caption: The VF-0's close range fly-pass was drawn based on Director Kawamori's experiences. Even though it is at high speed, the VF-0's fuselage details are clearly able to be seen.

Caption: After the VF-0 passes, the shock wave strikes Shin and the others. Surely it is Director Kawamori's experience as-is.

Kawamori: "I totally thought about putting up a telop (laughs). Because I thought that in general there might also have been people who don't understand that the first aircraft is an F-14, and they'll think that a Valkyrie was flying from the beginning."
Chiba: "However, when there is a part that we make that is a little bit fussed over, the mecha enthusiasts are happy. It seems that they'd say "despite firing a sidewinder, he fired an AMRAAM because it'll be dodged!" and think "oh, that's right!". But that would be impossible because the pictures are finished within 5 or 6 seconds! (laughs)

"... that the VF-0 wouldn't splendidly crash."

- Names, such as Sukhoi or Sony also appear in the design production in the "Zero" setting documents. Names that are immediately understood if one knows a little about weapons, such as Northrop Grumman, seems to be the hook of reality in "Macross".
Chiba: "The usual power diagram is the Unified Forces and the Anti Unification Forces, and I think that it isn't anything like the current West and East sides, and the manufacturers names also aren't simply divided between them."
Kawamori: "However, if you think about it now, I think its good that we wrote McDonald Douglas and others into "Macross" at the beginning. As the business consolidation was pretty intense, I was worried about what we would do if the manufacturers disappeared in 1999." Chiba: "It was rather good that we made fictitious manufacturers, like Stonewell and Bellcom, wasn't it?"
- Speaking of showing the two-seater VF-0D in "Zero", was it something that you were thinking about from the beginning?
Kawamori: "That is so. I thought that as it is the initial stage that the VF-0 are committed to the front, that either they are still unsuccessful in the control conversion from normal fighter aircraft, or it should be the period when it was impossible to fly a VF by yourself. As one person flies and one person controls the firearms, the computer gradually learns, and I wanted to make it into a story where they could make the VF-1 based on that data."
Chiba: "There isn't money nor a development period even at the best of times when we made the setting, and yet how were they able to make a two-seater model? When we added the explanation, even though we thought that it was because there were troubles, if the basic parts are just about the same, and only the wing parts are different, wouldn't it exist?"
- In the 2nd episode, isn't there the line "the enemy also uses this technology" from the Anti Unification Forces side?
Kawamori: "There's an assumption that the Unified Forces and Anti Unification Forces mutually think so. As an answer to that, there was a plot where both camps competed in order to prepare for combat with aliens in a short time, and businesses and organizations behind the scenes mutually leaked military information. Although I can assuredly say that it was something that Mr. Chiba set up, I thought it was a clever move, because armament development advances the most during conflict."
Chiba: "There are vicious, nasty people."
Kawamori: "But that is the hidden historical background of actual wars."
Chiba: "The setting was made later, and I thought that the VF-0 wouldn't splendidly crash. Because it's still a data collection stage prototype that was forcibly armed and made to fight. Undoubtedly in the carrier, they were reseting the combat program and adjusting the engine thrust to raise it even a little, up to just before the aircraft sorties! (laughs) There would be a tag stuck in the cockpit when they sortied with 'transformation system is out of whack, it takes 1.5 times longer than normal', there would be apologizing from the maintenance group just before sortieing, and the pilots also wouldn't want to transform it because the VF-0's in such a state."

Pg 110

Kawamori: "There might even be people who don't want to transform it to into Battroid."
Chiba: "Because the pilot is invited into the fighter aircraft, and says a confused remark like: I'm getting on a robot. And yet, won't they say 'perhaps it's probably no good?' about the transformation system, as it's an experimental type. Nevertheless, on the battlefield, when they're pursued by a missile from the rear, they might be thinking 'if I run away as is, I might get away', before they push the switch without knowing if it is possible to transform the VF-0, or not."
Kawamori: "In that sort of sense, I think the people who faced missiles and enemy aircraft in the Falkland dispute, hovering in the Harriers for the first time, had courage."

"In truth, I want to make two versions."

Chiba: "On the image side, the significance of letting the mecha part approach that of live filming was on our minds. Current CG cannot produce pictures that make the best use of the thick lines in Mr. Kawamori's mecha designs. We also considered if it could be like that."
Kawamori: "When you use toon shaders, it is assuredly unpleasant that CG seems to have become the substitute for anime up to the present. However, it certainly wasn't simple as an easier substitute. Mysteriously, even though there is brilliant movement, it has just reached the point where putting in toon shaded lines appears smooth. The power held by animation cel drawings is about that strong. However I feel that as we're not using that, it'd be good if we complete the new way of representation by the end of the series."
Chiba: "As there is a compatibility with the colour of the production, there also may be the problem of to what extent anime pictures hold their ground up to getting close to live filming."
Kawamori: "Actually, there were even more live film-like shots. However, I decided to stop that, because I sobered up to there not being any difference with ordinary live-filming if we do more shots. Even though there is a feeling of incompatibility when the CG part is seen on a video screen, it has a pleasant feeling when you see it on a movie sized large screen. The significance of that is that even though there's no problem with toon shading, the overwhelming information content of the texture starts to have a presence when you see it on a large screen. I absolutely want to go by the current way that we're making the CG because you get an effect that is quite different from toon shading.
By aiming first at the detail aspect, there's the effect of clearly seeing the details when it is close to slow-motion. Before, an F-14 was displayed in a super-low altitude supersonic fly-pass, which isn't done during practice at the ground base, when it took off from the carrier. The F-14 soundlessly came right beside us, generated a shock wave BOOM just as it passed. At that time, I could see even the rivets on the F-14 that flew by about 100 to 200 m from the deck. Is it a slow-motion effect of the eyes of the person at the time? I think it seems to have assuredly been a conscious degree of concentration. As an impression, I feel like I could even read the marking letters on it. Actually, it seems that I didn't read them, but it's about that degree of distinction. Actually, there's a scene in the latter half of Eps. 1 that was made based on that impression at that time. If we had enough time in production, there was a plan to see the VF-0 in silhouette with the textures erased in a long-shot; but we couldn't make that modification in time. There are too many shots with the detail turned on in Eps. 1. However, was that a total mistake? When I saw it on a large screen, it was perfectly OK. That's the difference with live filming. That is to say, there's a difference in sensation due to screen size even here, and even I experienced that for the first time."
Chiba: "Essentially it's seen at home, but it seems that it's absolutely necessary for us to choose such things as a resolution that even incorporates what environment it is seen in."
Kawamori: "Speaking truthfully, it's like I wanted to make two versions. I think that if it was truly planned for both a theatrical [and video] release from the beginning, than it would've been interesting if we did the video version toon shaded, and the movie version as the edition intended for the realistic textures."
Chiba: "If we could make that much of a differentiation, than we could unapologetically say 'come and see it in the theatre'."

"The setting is used to enjoy the series."

- For all that, the setting for "Zero" that I've gathered from this talk, more than saying the absolutely correct answer, it feels like it seems that the production side is either playing or there is also a part where you enjoyed making it.

Pg 111

Kawamori: ""Zero" finds itself with the premise of "the true history was concealed in the "Macross" world" as its stance. The setting that I've gotten Mr. Chiba to write is also treated as extremely detailed surmised data that was produced by a military analyst. In the data we've announced that subtly differs [from previously released data], we've elected to write information that first seems to have the highest positive proof."
Chiba: "Therefore, I only assess the appearance of the the design and write about it. I look hard at the setting documents to the extent that the holes in it thin out, while thinking up conjecture like an analyst, such as what is the slit on the fuselage here?"
Kawamori: "After all, even real airplanes have data that differs according to the publication, and the data that has been made public is expected to be fake. In relation to something like the setting in an anime, I think that the ways of reality have gotten lost somewhere. The setting is something that's made for the sake of such things as enjoyment, and it's not made to tie us down. Although there must be a setting style for each production, it was necessary to make a similar setting for what kind of robots there are in the period. As such places have something rigid to them, I'm in the position where I wonder if it isn't good that the openings in the setting alter for each production."
- "Zero" isn't a conservative sequel in such a meaning, it's a rock production, isn't it?
Kawamori: "Even if it's history, even if it's whatever, isn't it a different constraint whether it's possible to say that there are different explanations or not? I think it'd be good if it's something like 'the truth has been discovered!' or 'new archives have turned up!' When 'this story cannot be done with that setting because it doesn't match' is said, I already have a blah blah blah feeling about it." (laughs)."

Introducing A Little Bit Of The Contents Of TheChapter 2 That's On Everyone's Minds
The combat between the VF-0 and SV-51 continues from Chapter 1 and becomes the main part of Chapter 2; and there's the Valkyrie operational training for protagonist Kudo Shin, who was newly assigned to a Valkyrie unit.
In addition, the pilots of the Anti Unification Forces, who are wrapped up in the mystery in Chapter 1, also appear. The VF battle with the Anti Unification Force's pilot, who seems to have some kind of a past connection with Roy Fokker, is surely a must-see. They're attempting to increase even more of not only the CG, but also the quality.
Even though we weren't able to obtain pictures of the episode because it's now under production, a part of the continuity has been made public by Director Kawamori. We want you to wait for the expected early summer release [for more].

Caption: GERWALK Plays A Greatly Active Role!
Shiin's training scene and the opening battle depict the GERWALK playing an active role, which has hardly been depicted so far.

Caption: The Appearance Of The Anti Unification Forces' VF Is Evident
The SV-51 appeared in only just a few shots in Chapter 1. [In Chapter 2,] its entire visage is clearly depicted.

Caption: VF vs. VF Has Grown Even More Vehement
The transformation from Fighter to GERWALK is repeated, and we observe once more a battle with Fokker, which unfolds in three-dimensional combat.

Macross Zero Chapter 1
Now on sale (early summer release for Chapter 2 planned)
Selling Agency: Bandai Visual
Price: ¥5,000


© Aaron Sketchley