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I don't have any other versions, but I'm happy with the DYRL I got from VEX. Only very minor problems with the subtitles, which I cleared up through reference to a translated script readily available on the net. Also, it's a true anamorphic transfer, so if you have a widescreen TV, or a TV which can adjust for anamorphic (like the Wegas), you'll get better resolution than you would for letterboxed widescreen.

Pre-production story work on a series usually only consists of a couple of pages outlining the direction of the first few episodes. Much different from how movies are done, which have a script before hand. For a TV series writers are hired as part of the production as they are a major expense. But, just to reiterate what you said we don't know the legal significance of all of that yet. Noboru Ishiguro, was employed by Tatsunoko Prod. through Anime Friend. 1. Noboru Ishiguro wasn't employed by Animefriends or TP. If he had been employed by either of them, the second judgment would have ruled that TP had full author's rights including moral rights to "Super Dimension Fortress Macross". He did receive compensation through Animefriends, which the court considered evidence of Ishiguro's "promise or undertaking to participate" in the production. Since the court considered Ishiguro to be the author of "Super Dimension Fortress Macross", his promise to participate fulfilled one of the two conditions necessary for TP to obtain © of the TV show. The other condition was that TP was found to the "maker" of the show, since it directly took on the economic costs and risks of production. However, since Ishiguro was not an employee of TP, either directly or indirectly, he (or possibly his actual employer) is considered the Author of the show, with moral rights. Please refer to http://www.maxlaw.co.jp/e/ipclw/03autumn.pdf (IP/Cyberlaw Watch, 2003 Autumn). 2. Whatever preproduction work "usually" is, the court's findings of fact in the first case explicitly describe how the scenario was developed and the series was planned out before TP's involvement. The circumstances under which the final scripts were written may or may not be relevant to a legal case. However, as far as the line art is concerned, the court explicitly rejected the notion that Studio Nue received compensation for transfer of copyright from TP, or that Studio Nue engaged in an open or tacit declaration of copyright transfer. In any case, this is all irrelevant to the this particular thread. If you would like to further discuss the legal issues, I suggest we take this to the pinned debate thread.

Don't forget the part that says TP paid for the whole thing. Incorrect. TP didn't pay for the preproduction work on the lineart, either before or after the fact. (This is why they lost the first case). TP also didn't pay for the preproduction work on the story. (The legal significance of that fact has not yet been tested.) TP did directly pay the production costs, although I'm not aware of any publicly-available accounting of what they were. Edit: Even saying that TP "managed the overall production of the TV show" is a bit of an overstatement on my part. They footed the bills and handled some of the production. According to the court findings, Noboru Ishiguro oversaw the entire production of the TV show.

That would be nice.....very nice! I don't know what color a low-viz Q-Rau would be. Somehow I think it would be flat black.

The GBP-1S also prevents transformation and nobody complains about it. Once you fire all your missiles, you can transform all you want. Or you can jettison them if it's an emergency. But the lack of flexibility of both the GBP and the Exo-endo-blah-blah-blah can be considered one of the reasons that the Super/Strike FAST packs became the most popular way of adding firepower to the basic Valk.

Yup, it's available in Italian. Also in German. I remember looking up the editions and posting info somewhere in the pinned HG debate thread in "Other Anime". I think I voted in favor of Macross manga but I agree with Agent One. At very least, it would be hard to do a good Macross manga. I haven't seen M7 trash or Mylene beat, but if the story doesn't prominently feature Valkyries, I don't see the point of it being a Macross story. And to do Valkyries right, you need to show space and motion. I've read the Macross II manga, and it's awful from a visual standpoint. Granted, it also probably gets a lot of its basic badness of MII (which I haven't seen yet). But another example: as much as I appreciate the richer story in the Nausicaa manga, it also suffers from the cramped manga medium, especially as compared to the film. To do a Macross manga right, I think it'd have to be at least the size of an American comic book, probably full-color, possibly painted (à la Sienkiewicz or Muth), and with ample use of full-page layouts. Think Tintin or (painted example) Moonshadow.

Sumdumgai is correct. Also, what you thought were landing lights are (from the compendium page you linked):

You may be thinking of HG's plan to rerelease the old Matchbox/HG/Exo-Squad 7" destroids. (I forget if Toynami was actually supposed to do the manufacturing.) It was cancelled with an announcement that the molds had deteriorated. (People have expressed doubts about that claim, but we'll probably never know.) Yamato has never announced any destroids other than a 1/60 Monster. No announcement regarding a cancellation, but the final release date also hasn't been announced.

And even after he so-called work his ass off, the valkyrie is till pure white instead of the blue in certain places? I'd suggest you listen to the interview with Noboru Ishiguro on the Animeigo disks. Itanoh did work his ass off--I think he suffered a collapse at one point.

Yup, I'm sure they're at least 20 mm, probably at least 55 mm (the caliber of the GU-11). In real life, Roy would probably have been hit by shrapnel when the shell fragmented or "spall" from the cockpit being shredded. I don't know how hot that stuff would be or what it would be likely to do to the human body. Nothing nice, I'm sure.

Bandai made a 1/100 DYRL VF-1A Hikaru, and Takatoku TV series 1/100's, including VF-1S Skull and VF-1J, maybe others. Matsushiro also made a 1/100 VF-1J which they packaged similarly to their 1/55 1J, i.e., with no reference to Macross on the box or instructions, but with the Macross sticker sheet inside. Then there are a bunch of 1/100 bootlegs which were of pretty good quality, including the "Hawk Fighter". (The only real problem I found with the "Hawk Fighter" was the weird gun, nothing like a Macross gunpod.)

I've heard people say the Strike VF-1S is best quality of the bunch. I got lucky and picked that one before I really knew much about Valk toys, and I can say that it's not too bad at holding a pose and keeping its armor on even without doing any nail polish or other modifications. Aside from the polish trick, another idea might be to use minwax (or similar product used to nonpermanently keep dollhouse miniatures in place) or blue-tack (stuff used to put posters up on walls).

Yes of course they do. And I suppose you still believe in the tooth fairy ???? 'Full of Wind' Jammer is renowned for..................... bending the facts. A lot of his stuff is most certainly not relying on official sources. If it was Im sure he would be more than happy to provide the proof here, and pass it on to Egan Loo who has access to THE official source itself. http://www.anime.net/macross/mecha/united_...armd/index.html As I wrote, not everything which is "official" is "canonical". I'm sure you can trust Egan Loo's site to have accurate canonical information, but not everything in Macross is catalogued there. (E.g., the VF-1SOL we discussed a few weeks ago, which appeared in a Macross video game but is almost certainly non-canonical, isn't found at Egan's site.) I'll shoot Nanashi a PM and see if he can tell where he got the information.

In case anyone is wondering, the cell comics simply use cells from the TV show as frames in a comic book. So unlike some manga (e.g., Nausicaa, Akira), it doesn't have anything that isn't in the show. There's also a DYRL film comic.

I answered this way back on page 13 (see it helps to read the entire thread ). http://www.macrossworld.com/mwf/index.php?...=2&t=140&st=240 Think of it this way, if a tank's cannon wasn't mounted on a turret and was fixed, it would be forced to move the entire vehicle into a new firing position everytime. This would be quite a pain in the ass. What transforming does is increase the firing arc. That's a good answer, butI don't think it's "official", is it? Besides, it begs the question, why doesn't Battle 7 have a configuration which doesn't need to be transformed to swivel the cannon?

Studio Nue did the story and mecha designs. Mikimoto did the character designs. Mikimoto was an employee of Artland. Tatsunoko Productions managed the overall production of the television show. Artland shared the animation work with Animefriends. This is all from the findings of fact in the court judgment of January 20, 2003. The info about Artland and Animefriends working jointly on the animation is in the section regarding the "concrete work" of the television animation, third paragraph. Nevertheless, I believe Renato's account about (at least some of) the badly done episodes being done by studios other than AF. I assume that for the work that Artland couldn't do, Animefriends did some of the work itself and subcontracted some of it with other studios. (It could also be that TP contracted direclty with the outside studios instead of having Animefriends do it.) Anyway, the point I'm trying to make is that SN did not do any animation, but Art Land did.

In answer to your initial questions, ALL the 1/60 Yamatos have the sort of "loose" leg positioning in Gerwalk mode that you noticed. The later 1/60's with FAST packs do have square holes for inserting the leg pegs in Battroid (instead of hexagonal in the initial runs) and some other improvements. The Bandai WILL NOT mount the gun under the toy in jet mode. With some ingenuity you might be able to customize it to allow this but I don't know if you'll run into ground clearance problems. I can't speak to the MPC (Masterpiece) personally but the early versions (particularly Rick's) generated a lot of reports of design problems/QC issues/cheap construction. These problems seem to have been addressed to some degree by the later versions including Max & Miria. Toynami is now marking a YF-1R Masterpiece if that interests you. (There's a pinned thread for discussing the MPC's over in the Other Anime and Science Fiction area, because MPC's are really from Robotech and Robotech isn't really the same as Macross.) For more info on toys, look in the Toys section off the main page of Macross World (but you won't find any Toynami stuff, or Banpresto perfect transformation). Also look at the Valkyrie Factory.

I don't think Nanashi makes anything up. He and his collaborators get everything from existing official publications--although it's possible some of it is "noncanonical" even though it's official.

Where did you get that Idea? According to the PILOTS The Tomcat has the edge My impression from the threads I linked was that the F-14 would be better for downing an enemy at long range. That includes enemy fighters, since if the Phoenix could "down" F-15's in simulation exercises, I doubt a Mirage or MiG would do any better. In ACM (fancy term for dogfight), the F-15 would enjoy somewhat of an advantage, but the advantage would be smaller relative to an F-14B or D than F-14A. Ultimately it depends on the scenario. If you want to throw something else in the mix, consider the fact alluded to above that the F-14 is designed for carrier ops, which means it can fight anywhere in the world. The F-15 depends on the availability of friendly airbases.

The fees for making Macross flowed from sponsors through Big West to Mainichi Broadcasting and thence to Tatsunoko. However, the amount quoted (which Wrylac gets from the court judgments in recent legal cases) doesn't tell us how much it really cost to make Macross. For that you'd have to audit Tatsunoko's internal records. (Good luck!) Tatsunoko claimed the fees they received were insufficient to cover their costs, on which grounds they renegotiated their contract and received additional compensation in the form of international distribution and merchandising rights.

Usually I worry about details like that but whenever I see the scene, I get all ferklempt. Edit: Discuss amongst yourselves: DYRL was intended from the start to be movie within the Macross universe.

Since you're asking me what I think...yes, it's kinda tacky...I'm not personally offended but it probably pushes the envelope slightly relative to various other avatars... On the other hand, there are a few I can think of that would be just as tacky if they were cropped to focus on specific parts. Just to be clear, I have no problem at all with Ali Sama himself.

The only differences I can think of are the color of the arrows on the head (would be black for TV instead of yellow for DYRL), the cockpit, and the pilot's flight suit. Are there any other differences you're thinking of? Or are you calling for a VF-1S with TV-style FAST packs?

Possibly, but it's not really relevant to the "big issues" discussed over there. I'll shut up after noting that it is common in the publishing world for contracts between authors and publishers to contain an explicit clause regarding ownership of the printing plates. See e.g., "Standard Contract for a Novel". From this it is clear that while an author has copyright to a book, he doesn't own the materials used in reproducing it for publication unless he buys them from the publisher. The analogy to a remaster should be fairly obvious. Of course, I may be mistaken since I have no particular expertise in this or any other area of the law.

Who says that Animeigo had any right to consent. They worked on the footage it doen't mean they own it. HG does. It's really not clear what would happen in the absence of explicit terms in the contract. IANAL (not remotely) but I doubt that Animeigo's agreement with HG simply said, "Animeigo has the right to remaster Macross and distribute it in North America". But if it did, the question would arise as to who owns the new master. Not who has copyright on it, who owns the physical (or electronic) master? Also, by "consent" I mean Animeigo's agreement, as part of their contract, to HG's ownership of the new, restored master. Or to give HG a copy of the master (with Animeigo owning a copy of their own). Or to give HG access to the new master (even if Animeigo retains ownership).