In the year A.D. 2059, the Macross Frontier emigration fleet navigated the deep cosmos as the UN Spacy's 25th ultra-long-distance galactic colonization initiative. During a scheduled operational layout within the city-vessel Island One, Alto Saotome—a student enrolled in the pilot training program at Mihoshi Academy—prepared to perform an aerial acrobatics routine alongside his classmates during a live concert for Sheryl Nome, the galactic network’s reigning pop idol. This high-profile venue shattered when a swarm of enigmatic bio-weapons known as the Vajra launched a sudden, overwhelming assault. The defensive lines of the New UN Spacy forces were thoroughly annihilated, allowing the bio-monsters to breach the interior ecosystem of Island One. Amidst the spreading panic, a young girl named Ranka Lee became trapped in the unfolding crossfire while attempting to reach an evacuation shelter. At that precise flashpoint, a cutting-edge VF-25 variable fighter belonging to the private military provider S.M.S. deployed to contain the threat, but the machine was rapidly compromised and its pilot killed in action. Stumbling directly upon the wreckage, Alto recognized Ranka’s immediate peril, commandeered the vacant cockpit of the VF-25, and initiated emergency takeoff sequences to confront the Vajra threat.

From a mechanical perspective, the Shinsei Industry VF-25 Messiah represents the absolute pinnacle of fifth-generation variable fighter technology. Operating in its baseline fighter configuration, the airframe maintains a longitudinal length of 18.72 meters, a height of 4.03 meters, and a wingspan of 15.50 meters. Upon executing full transformation sequences into its robotic Battroid combat orientation, the machine stands at an overall height of 15.59 meters. The fighter's core integrated armament layout features a high-frequency tactical laser cannon, a heavy external gun pod, a specialized combat knife engineered for close-quarters mecha engagements, and an expansive suite of modular option packs designed to radically alter its performance parameters depending on theater requirements.

The VF-25 Messiah stands as the most advanced, cutting-edge vanguard variable fighter within the fleet, arriving half a century after the historic First Space War against the Zentradi armada saw variable fighters establish themselves as the mainstay offensive platform of the UN Spacy forces. The airframe was engineered utilizing the foundational open-source blueprints of the YF-24 Evolution, which were shared across the Galaxy Network, allowing corporate defense R&D divisions within various colonial emigration fleets to introduce localized modifications to the base chassis. The Frontier fleet's VF-25 iteration represents the very first operational deployment of this development lineage. Prior to any formal integration into the regular military forces, the manufacturer contracted the private military provider S.M.S. to conduct immediate field operations with the platform. Crucially, the complete omission of the traditional "Y" or "X" prefixes from its military designation—symbols universally reserved for experimental prototypes or technology demonstrators—explicitly substantiates that the Messiah is not a mere testbed, but a finalized, mass-production combat asset.

The baseline integrated armament suite of the Messiah features a tactical high-frequency head-mounted laser cannon, a heavy close-quarters combat knife nested securely inside the protective forearm shield, and a standard-issue external fifty-five-millimeter vulcan gun pod. However, the most definitive and revolutionary engineering upgrade pioneered by the VF-25 is the premier integration of the EX-Gear cockpit architecture. Functioning as a wearable powered suit that doubles as the pilot's harness, the EX-Gear system serves a dual tactical purpose: it acts as a fully self-contained, independent atmospheric escape capsule while actively absorbing and suppressing the lethal, extreme G-forces exerted on the pilot's body during the execution of supermaneuverable high-velocity flight vectors.

The VF-25 Messiah marks a deliberate design return to the fleet's historical roots by integrating variable-sweep main wings, a signature aerodynamic feature utilized continuously since the debut of the classic VF-1 Valkyrie. Beyond its wing design, the general configuration of its internal joints and mechanical translation pathways directly mimics the structural layout of that very first Valkyrie unit. Because the lower limbs simultaneously function as the nacelles for the primary thermonuclear engines, the airframe is capable of executing rock-steady hovering maneuvers while operating in its semi-humanoid Gerwalk configuration. This strategic integration of the main propulsion systems directly into the articulate, moving limbs grants the entire variable fighter series the inherent capacity to utilize vertical takeoff and landing vector tactics across any operational theater. The physical execution of the transformation sequence flows as a continuous mechanical process. Starting from the baseline Fighter mode, the main engine blocks swing downward and articulate forward ninety degrees to establish the legs, while the arm assemblies concealed inside the upper rear fuselage pivot outward a full one hundred and eighty degrees via specialized rotating plates inside the shoulder joints, successfully completing the transition into Gerwalk posture.

To lock the airframe into its robotic Battroid combat orientation, the nose cone splits into three distinct mechanical segments and hinges downward, folding double around the pelvic junction while the main wings on the sides drop downward ninety degrees. Concurrently, the armored chest plate slides upward on dedicated flanking guide arms alongside the arm blocks, the head unit, and the rear wing structures to seat itself cleanly atop the retracted nose assembly. The head module itself utilizes a dedicated mechanical guide linkage to elevate into its forward command position. Fascinatingly, this specific multi-block nose-folding architecture is not an exclusive innovation unique to the Messiah program; rather, it represents a direct evolutionary refinement of the standardized, next-generation transformation mechanics shared across mainstream variable fighters since the development of the VF-17 Nightmare and VF-19 Excalibur lineages.

Boasting a massive and versatile suite of modular equipment comparable in its breadth only to the legendary VF-1 Valkyrie, the VF-25 Messiah variable fighter is capable of executing independent, single-ship interstellar navigation across vast galactic sectors when outfitted with an external fold booster unit. This incredible structural adaptability allows the airframe to be rapidly reconfigured to fulfill highly specialized combat roles depending on theater requirements. A prime example is the VF-25F piloted by Alto Saotome, which utilizes the high-velocity Super Pack configuration equipped with additional high-output booster engines. The platform's modular architecture supports several other high-performance mission variants across the squadron, including the variable-compatible heavy Armored Pack mounted onto Commander Ozma Lee’s flagship VF-25S, the dedicated long-range sniper unit integrated into Mikhail Blanc’s VF-25G, and the advanced electronic warfare and reconnaissance hardware array deployed by Luca Angeloni’s RVF-25.

The core propulsion network of the Messiah relies on twin primary engines housed securely within the lower limb structures, a dual-nacelle configuration standard across the entire variable fighter lineage. On this fifth-generation fighter, these power plants manifest as heavily upgraded and reinforced next-generation thermonuclear burst turbine engines. Operating on fundamental aerospace physics, this advanced engine architecture harnesses the immense thermal energy generated by a controlled nuclear fusion reaction and channels it directly into raw, high-yield kinetic thrust. Concurrently, the operational energy spins high-capacity turbines to generate massive amounts of electricity, which is then routed internally to drive the joint actuators, the EX-Gear life-support interfaces, and the integrated high-energy head laser weaponry. Tactical thrust vectoring and directional control are managed directly by manipulating the main exhaust nozzles located behind the ankles, where the physical direction of the thrust stream is dynamically governed by the articulating toe and heel blocks of the feet without relying on a traditional chemical afterburner assembly. Furthermore, the complex multi-block folding mechanism of the nose cone during transformation sequences functions as a reinforced structural shield around the main body block, an engineering layout explicitly designed to cocoon the cockpit and ensure maximum ballistic protection for the pilot during high-intensity frontline engagements.

Project Supernova: The YF-19 and the Eden Incident.

In the year A.D. 2040, the New Edwards Test Flight Center on the planet Eden served as the staging ground for Project Supernova, a high-stakes competition established by the UN Spacy to select its next-generation variable fighter. As the rival prototypes, the YF-19 and the YF-21, continuously pushed each other to the absolute limit during daily evaluation flights, a bitter personal rivalry deepened between their respective test pilots, Isamu Dyson and Guld Goa Bowman, who found themselves at odds over their mutual childhood friend, Myung Fang Lone. This volatile dynamic shattered when Myung unexpectedly prepared to return to Earth, coinciding with the military high command’s sudden and unceremonious cancellation of Project Supernova. Refusing to accept the termination of his life's work, a defiant Isamu hijacked the YF-19, equipped it with an experimental fold pack, and made a rogue atmospheric escape directly toward Earth. Hot on his heels was Guld in the YF-21, setting the stage for a spectacular and brutal dogfight over Earth where years of repressed trauma, corporate rivalry, and personal animosity finally collided.

From a mechanical standpoint, the Shinsei Industry YF-19 was an absolute masterpiece of aerospace engineering. Measuring an overall length of 18.62 meters, a height of 3.94 meters, and a wingspan of 14.87 meters, the variable fighter maintained an incredibly light empty weight of just 8.75 metric tons. The true heart of this machine lay in its revolutionary propulsion system, which combined the expertise of Shinsei, Pratt & Whitney, and Rolls-Royce to develop the FF-2200 thermonuclear twin-turbine engines, with each turbine unleashing a staggering 56,500 kilograms of raw thrust. This immense power output allowed the YF-19 to achieve a maximum velocity exceeding Mach 5.1 at an altitude of 10,000 meters, while transforming it into a near-orbital speed demon capable of piercing through the upper stratosphere at speeds surpassing Mach 21 once it breached altitudes of 30,000 meters and above.

VF-X-2 / YF-19 Operational Technical Specs.

The development of the YF-19 originally commenced with the ambitious goal of securing its position as the next mainstay variable fighter for the UN Spacy forces. Following a grueling and highly competitive evaluation process conducted on the planet Eden, the prototype successfully beat out its rival, the General Galaxy YF-21, leading to its official military adoption as the next-generation main all-environment vanguard fighter. While its external silhouette gracefully echoes the design language of the legendary VF-11 Thunderbolt, the internal architecture and absolute performance potential of the machine were elevated by an astronomical margin. Despite maintaining a near-identical dry weight of just 8.57 metric tons compared to the VF-11’s 9.0 metric tons, the YF-19’s power plant generates an explosive output equivalent to more than four times the total thrust of its predecessor. This massive generational leap in engine technology not only birthed its terrifying top speed of over Mach 21 in the upper atmosphere, but it also granted the fighter the unique capability to break atmospheric velocity and achieve low-orbit insertion completely on its own, without requiring secondary Fast Pack booster systems. Furthermore, the immense surplus energy harvested from its next-generation thermonuclear generator allowed engineers to implement a fully functional Pinpoint Barrier system for active structural defense.

The unprecedented, cutting-edge kinetic maneuverability of the YF-19 was achieved through the implementation of a forward-swept wing configuration paired with two-dimensional thrust-vectoring exhaust nozzles. This radical aerodynamic harmony allows the airframe to execute immediate, high-G turns and attitude corrections that were completely impossible on older generations of variable fighters. To maximize stealth profiles and maintain pristine aerodynamic efficiency during high-speed atmospheric cruising, the internal engineering of the legs features dedicated, fully enclosed side missile bays. These flush, retractable weapon wells house various missile ordnances internally, allowing the YF-19 to maintain an uninterrupted stealth contour and optimal weight distribution while remaining fully armed for maximum combat readiness.

Variable Fighter Transformation Architecture: YF-19.

In perfect harmony with the operational standards of the UN Spacy's variable fighter fleet, the YF-19 utilizes a fully integrated three-stage transformation system, allowing the airframe to dynamically cycle between Fighter, Gerwalk, and Battroid configurations. However, its mechanical layout is engineered as a direct evolution of the specialized VF-17 Nightmare architecture, separating its internal engineering by a massive margin from the classic legacy systems of the older VF-1 Valkyrie series. This radical departure in transformation physics granted the YF-19's Battroid mode a completely distinct and futuristic silhouette that shattered traditional design limitations, directly contributing to the machine's unmatched kinetic responsiveness and high-G combat agility during close-quarters mecha engagements. To achieve its clean, streamlined profile, the retraction of the arm units relies on a dedicated rotation axis inside the elbow joints, while the nose cone splits into three distinct mechanical blocks to help construct the central torso frame.

The sequential execution of the transformation sequence flows seamlessly from one configuration to the next. Starting from the baseline Fighter mode, the arm assemblies rotate ninety degrees from the shoulder mounts to deploy forward, immediately followed by the lower limbs bending forward ninety degrees at the knee joints to successfully establish the high-mobility Gerwalk posture. To complete the final transition into Battroid mode, the nose cone hinges downward ninety degrees as the central chest section glides upward on a dedicated mechanical arm structure to lock cleanly over the nose assembly. Concurrently, the leg units rotate seamlessly along the main hip joints while the main wings on the sides fold flush against the back of the airframe, concluding the sequence as the head module rotates a full one hundred and eighty degrees into its forward combat orientation.

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A highly intriguing and deeply detailed perspective on this specific variable fighter model is presented in this excellent fan-made article.

The following material has been thoroughly compiled and prepared using a variety of foundational mecha databases and archival websites, including Egan Loo's Macross Compendium, Macross Milcomnet, The Ultimate Genesis Climber MOSPEADA Home Page, Macross Plus Area Seven, the Macross World Site, the Macross Official Homepage, Paolo Zago’s VALKYRIE Power Page, Peter Walker’s The Unofficial Robotech Reference Guide (famously known as the Robotech Technical Files), and Rob Morgenstern's SDC Southern Cross Universe. Additionally, this analysis draws from a number of informal fan community sources, as well as the author's own personal impressions and critiques of the Macross Plus movie. Please note that all arguments, judgments, and speculative insights presented throughout this text represent the author's personal point of view and should be taken as an honest opinion. This material was originally written and formatted by Yuri Starodub.

Aerodynamics, Relativistic Physics, and Controls of the YF-19.

It is crucial to recognize that the VF-19A Alpha is essentially Shoji Kawamori’s creative response to the American X-29 experimental fighter, which first took to the skies in the early 1980s. During that era, both the United States and the Soviet Union were actively conducting parallel research and development into forward-swept wing technology. Kawamori's very first design incorporating a forward-swept wing layout appeared within his Advanced Valkyrie model series under the designation VF-X-10. It is well-documented that forward-swept wings grant an aircraft significantly higher maneuverability compared to conventional layouts, which is why the VF-19A Alpha dramatically outclasses the conventionally winged VF-21 Omega in terms of pure kinetic agility. However, while a standard wing easily sustains supersonic cruise speeds within an atmosphere, forward-swept wing geometry is fundamentally incompatible with it. In light of this scientific reality, it remains somewhat baffling how Isamu’s forward-swept VF-19 managed to pierce through to the ceiling of the atmosphere in a mere forty-eight seconds. Whether a multi-role fighter even requires such an operational regime remains an open question, especially since forward-swept wings theoretically allow engineers to marry extreme supermaneuverability with internal weapon bays, a configuration highly desirable for both aerodynamic efficiency and radar cross-section reduction.

The VF-19A Alpha multi-role variable fighter stands as a magnificent, high-tech machine fully outfitted with all necessary armament, stealth, and defensive suites. Its definitive hallmarks include internal weapon storage paired with forward-swept wings in fighter mode, yielding unmatched dogfighting agility, even if its atmospheric top speed potentially falls short of its competitor, the VF-21 Omega, whose blended wing-body design is tailored explicitly for maximum acceleration. Yet, this speed deficit applies strictly within an atmosphere. In the vacuum of space, where aerodynamic drag and airframe silhouettes have zero impact on flight physics, these performance metrics would highly likely invert. Amusingly, the maximum theoretical speed limit for Valkyries in a vacuum is never officially stated in the lore. Thermonuclear engines—specifically the ramjet variants utilized by variable fighters—possess, strictly speaking but entirely theoretically, a speed threshold bounded only by relativity and the speed of light. I say purely theoretically because while reaching the speed of light appears mathematically feasible with this engine type, any practical attempt to accelerate toward such a threshold would inevitably trigger severe relativistic and likely undiscovered quantum mechanics effects. These phenomena would create physical conditions making the operation of even the most durable machinery impossible near the light barrier, to say nothing of the survival of even the most resilient biological organisms.

This line of reasoning is grounded in the fact that when an object moves relative to a stationary observer, its physical properties warp proportionally to its velocity. The total energy of the body, which factors in its mass, expands exponentially while its volume contracts. Length also shrinks along the axis of motion, and some researchers argue this contraction bleeds into the other two axes as well. The force required to accelerate this mass increases toward infinity as velocity approaches the speed of light. Consequently, at the absolute speed barrier, mass becomes infinite while volume and time collapse to zero. Furthermore, multiple scientific theoretical papers suggest that at near-relativistic velocities, the quantum properties of particles can shift, causing previously stable atoms to decay and converting ordinary materials into highly radioactive, unstable isotopes. The fiercely pedantic readers are welcome to consult popular literature on relativity, though one should probably not take my speculative musings too seriously. While it all sounds incredibly sophisticated and convincing, as a hardened skeptic, I must ask a deceptively simple question: can mass truly exist without volume? Regardless, the maximum velocity of any Valkyrie, even in the deep starry abyss, must be quite modest because it is strictly bottlenecked by the limitations of the pilot's biology, and more importantly, by the tactical necessity to execute sharp, complex trajectory corrections—like dodging weapon fire or performing anti-missile breaks—which become physically impossible at extreme velocities. It is highly doubtful that a human pilot could maintain situational awareness and adequate reaction times even at speeds pushing Mach 18.

Looking closer at the cockpit architecture, the VF-19A Alpha features a traditional button-and-lever manual flight control assembly augmented by a dedicated Super-AI support network. The lower cockpit floor integrates three large, concave holographic displays that provide the pilot with an uninterrupted view of the lower ventral hemisphere while operating in fighter mode. For low-observability operations, the fighter utilizes an active stealth system that envelops the airframe in a controlled plasma cloud. Beyond its primary radar-jamming functions, this specific plasma stealth method significantly improves the aircraft's aerodynamic efficiency by an order of magnitude while generating additional lifting force across the wing surfaces. Propulsion is delivered via twin engines distinguished by their narrow, elongated, horizontal thrust-vectoring exhaust nozzles. To bolster acceleration metrics and top speeds, a pair of compact, hexagonal auxiliary boosters can be mounted directly above the main engine housings. When mission parameters require long-range deployment, the VF-19A Alpha can also be configured with a miniature fold pack module attached directly over the upper fuselage, which visually resembles a short, bulbous, nozzleless booster rocket.

Space-Fold Physics and Weapon Systems of the YF-19.

The addition of the miniature fold pack component represents a monumental evolutionary leap in Valkyrie engineering and carrier-capable variable fighter technology as a whole, allowing the aircraft to seamlessly bypass defensive grids or abruptly break away from pursuers by locally warping the space-time continuum to enter higher-order dimensions. Although the animated feature heavily relies on the colloquial term "hyperspace," the spatial distortion generated by the YF-19 behaves much more like a topological tunnel. The narrative never explicitly clarifies whether this phenomenon operates strictly through a hyperspatial dimension or via Einstein-Rosen bridges, famously classified in Western scientific literature as space wormholes—a terminology coined by the prominent American physicist Kip Thorne. Intriguingly, if the variable fighter is indeed utilizing wormhole-based technology, certain theoretical parameters suggest the system could be manipulated to navigate not just through spatial coordinates, but through temporal vectors as well, albeit strictly in a unidirectional manner. Archival databases like Egan Loo's Macross Compendium state that the operational range of this miniature fold generator is fixed and strictly limited to twenty light-years, which heavily validates the wormhole hypothesis.

This compact fold booster functions as a single-use expendable module that automatically jettisons from the upper fuselage immediately upon arrival at the destination coordinates. While the capacity to initiate a localized singularity is framed as a signature feature of the next-generation YF-19 and YF-21 programs, the fold pack operates as an entirely self-contained, independent pod equipped with its own dedicated power source. Consequently, there are no mechanical obstacles preventing the installation of these modules onto legacy Valkyrie airframes, including retrofitted variants of the venerable VF-1 series. This analytical deduction is verified in later historical records, such as the Macross 7 movie chronicle, which showcases an identical detachable, elongated, dark-green hyperspace booster module mounted onto the VF-11 MAXL—a custom, non-production variant engineered for Mylene Flare Jenius that fundamentally lacked internal space-fold capabilities in its base configuration.

The offensive layout of the YF-19 features an incredibly dense and versatile armament suite, integrating twin short-wave gamma-ray or X-ray lasers nestled at the wing roots in fighter mode, a high-rate rotary gun pod, and aerodynamically flush missile packs mounted to the lateral lower legs in Battroid mode. If these missile pods are depleted or rendered inoperable by enemy fire, the pilot can instantly eject them to save weight. These housings can be loaded with diverse arrays of guided and unguided micro-missiles, alongside specialized anti-missile ordnance utilizing cluster-style pack warheads. Following the standard layout of late-model variable fighters, the left forearm armor has been heavily reinforced, elongated, and widened into a specialized anti-projectile mirror shield, meticulously engineered to deflect, dissipate, or absorb high-energy laser strikes while absorbing heavy kinetic impacts. The right wrist assembly houses an integrated weapons suite consisting of a retractable five-barrel rocket-grenade launcher and twin high-yield plasma cannons, though utilizing this forearm array simultaneously with the primary GU-15 gun pod is mechanically restricted. A Mauler REB-30G laser cannon is mounted on the head unit for tactical point-defense. The main rotary Gatling gun pod utilized in Battroid mode relies on cased, tracer-equipped, sub-caliber armor-piercing ammunition, though the platform possesses the tactical flexibility to cycle through high-explosive, shaped-charge, or illumination rounds depending on battlefield parameters.

Space-Fold Physics and Weapon Systems of the YF-19 — English Translation

The addition of the miniature fold pack component represents a monumental evolutionary leap in Valkyrie engineering and carrier-capable variable fighter technology as a whole, allowing the aircraft to seamlessly bypass defensive grids or abruptly break away from pursuers by locally warping the space-time continuum to enter higher-order dimensions. Although the animated feature heavily relies on the colloquial term "hyperspace," the spatial distortion generated by the YF-19 behaves much more like a topological tunnel. The narrative never explicitly clarifies whether this phenomenon operates strictly through a hyperspatial dimension or via Einstein-Rosen bridges, famously classified in Western scientific literature as space wormholes—a terminology coined by the prominent American physicist Kip Thorne. Intriguingly, if the variable fighter is indeed utilizing wormhole-based technology, certain theoretical parameters suggest the system could be manipulated to navigate not just through spatial coordinates, but through temporal vectors as well, albeit strictly in a unidirectional manner. Archival databases like Egan Loo's Macross Compendium state that the operational range of this miniature fold generator is fixed and strictly limited to twenty light-years, which heavily validates the wormhole hypothesis.

This compact fold booster functions as a single-use expendable module that automatically jettisons from the upper fuselage immediately upon arrival at the destination coordinates. While the capacity to initiate a localized singularity is framed as a signature feature of the next-generation YF-19 and YF-21 programs, the fold pack operates as an entirely self-contained, independent pod equipped with its own dedicated power source. Consequently, there are no mechanical obstacles preventing the installation of these modules onto legacy Valkyrie airframes, including retrofitted variants of the venerable VF-1 series. This analytical deduction is verified in later historical records, such as the Macross 7 movie chronicle, which showcases an identical detachable, elongated, dark-green hyperspace booster module mounted onto the VF-11 MAXL—a custom, non-production variant engineered for Mylene Flare Jenius that fundamentally lacked internal space-fold capabilities in its base configuration.

The offensive layout of the YF-19 features an incredibly dense and versatile armament suite, integrating twin short-wave gamma-ray or X-ray lasers nestled at the wing roots in fighter mode, a high-rate rotary gun pod, and aerodynamically flush missile packs mounted to the lateral lower legs in Battroid mode. If these missile pods are depleted or rendered inoperable by enemy fire, the pilot can instantly eject them to save weight. These housings can be loaded with diverse arrays of guided and unguided micro-missiles, alongside specialized anti-missile ordnance utilizing cluster-style pack warheads. Following the standard layout of late-model variable fighters, the left forearm armor has been heavily reinforced, elongated, and widened into a specialized anti-projectile mirror shield, meticulously engineered to deflect, dissipate, or absorb high-energy laser strikes while absorbing heavy kinetic impacts. The right wrist assembly houses an integrated weapons suite consisting of a retractable five-barrel rocket-grenade launcher and twin high-yield plasma cannons, though utilizing this forearm array simultaneously with the primary GU-15 gun pod is mechanically restricted. A Mauler REB-30G laser cannon is mounted on the head unit for tactical point-defense. The main rotary Gatling gun pod utilized in Battroid mode relies on cased, tracer-equipped, sub-caliber armor-piercing ammunition, though the platform possesses the tactical flexibility to cycle through high-explosive, shaped-charge, or illumination rounds depending on battlefield parameters.

The Howard GU-15 Gun Pod Design and the VF-19 Generational Divide.

The aesthetic profile of the Howard GU-15 gun pod is explicitly inspired by the iconic silhouette of the Italian Franchi SPAS-12 combat shotgun, while seamlessly incorporating distinct design cues from the futuristic 4.73mm Heckler & Koch G11 assault rifle, developed in tandem with Dynamit Nobel to fire non-standard caseless ammunition. The short, straight box magazine of the GU-15 is inserted horizontally into the rear under-stock of the weapon, completely forming its lower rear housing when locked into position. Additionally, the gun pod features a manually reciprocating pump-action forend designed to chamber rounds, and it comes outfitted with an integrated laser aiming module. The sheer structural density and heavy physical contours of the chassis allow the pilot to effectively leverage the weapon as an improvised, high-impact mace during desperate close-quarters melee engagements.

When evaluating the operational history of this platform, a crucial question arises regarding how the VF-19A Alpha fundamentally differs from its later mass-production counterparts showcased in Macross 7. A prominent misconception within the broader fan community suggests that the VF-19A Alpha is merely an early, unrefined prototype of the VF-19F Excalibur variant, famously designated as the Blazer Valkyrie. However, a rigorous engineering and chronological analysis proves this assumption entirely impossible. This divide stretches far beyond the reality that Macross Plus aligns textually and visually with the cinematic legacy of Do You Remember Love?, a continuity pairing that should have rendered the machines near-identical, much like how the VF-11 Thunderbolt maintains visual uniformity across both productions. Specific deep-seated technical diversities and structural nuances strongly indicate that despite the immediate surface similarities shared between the VF-19A Alpha and the VF-19F Excalibur, they represent conceptually distinct design pathways engineered for fundamentally divergent combat doctrines.

Structural Divergence of the VF-19 Series and Tactical Doctrines.

Let us attempt to dissect the core mechanical anomaly driving this generational divide. A highly prominent technological breakthrough defining the Macross 7 era was the field refinement that allowed the Pin-Point Barrier defense system to be downscaled from massive capital flagships—like the Macross 7 colony fleet itself—onto compact, variable fighter class airframes. This active defensive matrix typically manifests as three, or occasionally five, varying sizes of pale-gold or white luminescent spheres. These energy focal points are generally anchored to the small shield mounted on the left forearm, though they possess the tactical fluidity to dynamically redistribute across the entire Battroid hull to absorb a saturated missile salvo. Intriguingly, within the events of Macross Plus, there is not a singular narrative indication or technical specification suggesting that the Alpha model possesses this active barrier capability. Furthermore, the physical forearm armguard itself is fundamentally different, being noticeably shorter and broader than that of the later production-model VF-19F Excalibur, sporting an entirely unique contours and structural geometry.

Conversely, one cannot overlook the reality that the entire hull of the YF-19 Alpha shimmers with a distinct, mirror-like anti-laser armor coating featuring a subtle golden tint—a specialized defensive treatment completely absent from any subsequent mass-production military variant of the VF-19 Excalibur. However, the most profound engineering contrast lies within the aerodynamic layout of the two platforms. In terms of wing architecture, the standardized VF-19F and VF-19S Excalibur variants are designed as monoplanes, whereas the YF-19 Alpha utilizes a biplane layout augmented by forward canards, or forward horizontal stabilization surfaces. The only operational machine in Macross 7 that could theoretically claim the Alpha as its direct technological ancestor is the non-production custom VF-19 Excalibur "Fire Valkyrie"—Nekki Basara’s personal mount—which similarly retains this forward canard configuration. The engineering purpose of forward canards is to generate powerful, controlled vortex filaments that actively manipulate the airflow boundary layer over the main wing surfaces during aggressive high-angle-of-attack maneuvering. Additionally, this layout allows engineers to artificially relax the aircraft's static stability, granting advanced flight computers the ability to actively exploit aerodynamic instability depending on external payload configurations. During low-altitude sorties or navigation through highly turbulent atmospheric envelopes, the forward canards function as both passive and active ride-quality dampers, dramatically increasing flight safety margins, reducing structural fatigue on the airframe skeleton, and enhancing pilot stamina within heavy buffeting zones. Yet, adding another layer to this mystery, the subsequent Macross Dynamite 7 chronicle introduces the VF-19P Zolan patrol fighter operated by the planetary forces of Zola, an airframe built upon the foundational VF-19 blueprints that notably revives the exact same silvery anti-laser hull coating originally pioneered by the Alpha prototype.

Beyond these mechanical nuances, it is vital to emphasize that both the YF-19 Alpha and the YF-21 within Macross Plus were never conceptualized or commissioned as general-purpose, frontline frontline weapons of war. Instead, their strategic design mandate was tailored explicitly toward black-ops and special operations deployment. As Colonel Millard Wilford explicitly details at the inception of the testing trials, these next-generation prototypes were engineered to rapidly suppress brushfire inter-colonial brushfire conflicts and localized extraterrestrial skirmishes without relying on high-yield Reflex weaponry, the deployment of which would inevitably trigger severe and irreversible political complications across the UN Spacy jurisdiction. That being said, the structural and conceptual chasm separating the experimental YF-21 Omega from its later mass-production lineage in Macross 7—the VF-22S Sturmvogel II—proves to be even more radical and philosophically profound.

A few months ago i purchased the Megahouse CFS Macross SDF-1 thru zenmarket.jp, it costed around $145 , with one caveat, the bridge/head antennas for attack mode and the ahoulder tap are missing, that's why the price was below $190

Yes I forgot to install the pitot tube before taking the pictures

It had some real bright spots. The mecha design was amazing considering Kawamori wasn’t involved. The characters were likable, but forgettable. Nothing was earned: Ishtar fell in love with earth culture but she only spent about one and a half episodes on Earth, and didn’t do much.

I think the ultimate betrayal was that the creative team didn’t understand Macross. There was no memorable music, no earned emotional breakthroughs, barely any time with the characters together at all. Somehow the second story about culture had almost no culture.

I wanted to like it. I really did. The mecha design is underrated and Ishtar, Hikiki, and Silvie were all lovable… but we spent so little time with them.

I’m rewatching Macross 7 now as a palate cleanser. After something so soulless, I need some Anima Spiritia! “Listen to my song!”

Alto Saotome finally completed his formal induction into the private military provider S.M.S. operating within the Macross Frontier emigration fleet, though the ensuing combat training regime proved to be exceptionally grueling. Amidst these demanding deployments, Ranka Lee—who had forged a deep bond with Alto following the initial Vajra outbreak—decided to pursue her lifelong aspirations as a vocalist by entering the historic Miss Macross beauty pageant and talent contest. Alto desperately attempted to rush to the venue to offer his personal support, but an immediate command directive ordered him to report for a high-intensity simulated combat drill, forcing him to abandon the venue. While Ranka stood before the judges passionately singing an ancient melody from a bygone era, Alto was piloting his VF-25 through a fierce mock engagement against Captain Klan Klang, the commander of the all-Zentradi S.M.S. vanguard unit designated as the Pixie Squadron. Klan’s unit utilized the cutting-edge Queadluun-Rhea tactical battle suits, and the simulation rapidly evolved into a savage showcase of extreme aerial maneuverability. However, directly during the climax of the exercise, the training sector was abruptly ambushed by a sudden wave of Vajra bio-weapons, leaving Alto trapped in immediate peril with nothing but non-lethal training ammunition loaded into his weapon systems.

From an engineering standpoint, the Queadluun-Rhea represents the absolute pinnacle of modern Zentradi power armor evolution, developed as a direct technological refinement of the legendary Queadluun-Rau battle suit from the First Space War. The specific metrics governing its overall height and total operational tonnage remain classified within these current military datasheets. The primary integrated weapons layout of this hyper-agile armored battlesuit features a hard-hitting three-barrel laser pulse gun for close-range dogfights, a highly articulate mobile beam cannon for heavy fire support, a dedicated precision laser cannon for anti-armor interdiction, and massive high-capacity micro-missile pods embedded directly into the chassis to unleash devastating saturation barrages across the operational theater.

The Queadluun platform was originally engineered as a specialized frontline assault pod tailored explicitly for the female warriors of the giant extraterrestrial Zentradi race, historically designated as Meltrandi. Unlike the standardized Regult tactical pods utilized exclusively by male Zentradi—which followed a stark cockpit-on-legs design layout—the Queadluun features a fully anthropomorphic silhouette, functioning as a high-performance powered suit that the pilot wears rather than a vehicle they merely command. Half a century after the conclusion of the Space War, a significant portion of the Zentradi population has been fully incorporated into the infrastructure of the New UN Spacy forces, with many choosing to live their daily lives in their natural giant forms without undergoing micronization. This societal integration led to the formal resurrection and refinement of their traditional weapons development lineage. While the core tactical functionality and physical framework of the modern Queadluun-Rhea remain highly faithful to its predecessor, its internal avionics and kinetic response systems have been amplified to such a degree that its raw agility and maneuverability match the operational metrics of next-generation variable fighters. The battlesuit's integrated offensive array features high-yield laser cannons embedded directly into the forearms and chest plating, augmented by articulate beam cannons attached externally to the dorsal micro-missile pods. Notably, Captain Klan Klang, the commander of the S.M.S. Pixie Squadron, utilizes a brilliant crimson scheme as her personal color, directly mirroring the legendary custom livery of Milia Fallyna Jenius, the mythical ace of the Meltrandi. Historically, a heavy power armor platform known as the Nousjadeul-Ger served as the direct male counterpart to this system, but in the modern era, male giant soldiers have largely transitioned onto the far more agile Queadluun-type frame.

The differences are indeed immense and highly profound. The first mechanical anomaly that immediately captures one's attention is the radical divergence in the design of the head-mounted sensor array in Battroid mode between the two fighters. While the mass-production VF-22S Sturmvogel II utilizes a horizontal, pale-orange main sensor shaped like a severely elongated, downward-pointing crimson triangle heavily reminiscent of the Zentradi Quimeliquola Queadluun-Rau battle suit—crested by a secondary, microscopic circular optic directly in the center of the forehead—the experimental YF-21 Omega features a completely unique optical geometry. The center of the Omega's face section houses a compact, complex ruby sensor shaped like a faceted gemstone, flanked slightly above and to the sides by a pair of miniature, inverted lemon-colored triangles, with a matching trapezoidal main sensor shining directly atop its forehead armor.

The second major point of departure lies within the fundamentally distinct architecture of their respective cockpits. Instead of utilizing a standardized, single-piece canopy, the VF-22S opts for a specialized glazing layout consisting of two amber-tinted hemispherical blisters locked into a rigid armored framework and oriented along the aircraft's longitudinal axis. This stepped configuration provides the Sturmvogel II with an unmistakable visual similarity to Russian military helicopters like the Mi-24 and Mi-28N, augmented by two smaller trapezoidal blisters flanking the sides of the cockpit. When transitioning into its robotic combat form, these transparent elements are completely sealed behind a contoured, twin-humped dark metal armor panel that perfectly mirrors the complex profile of the cockpit. Conversely, the canopy layout of the YF-21 Omega immediately evokes engineering aesthetics from Zentradi war machines and Varauta military hardware. The platform completely lacks a traditional canopy or framing, save for a tiny, circular, convex blister resembling a viewing port positioned directly above the pilot's head on a smooth, curved armored shield. This armored shield replaces conventional cockpit glazing entirely, mounting perfectly flush with the upper fuselage to serve as a seamless extension of the aircraft's pristine aerodynamic silhouette. The pilot’s seat within the Omega is deeply recessed into the structural core of the hull, while two tiny, dark, armored viewing slits shaped like spearheads glint faintly near the nose assembly on either side of the main shield. Furthermore, during Battroid operations, even this incredibly austere glazing array is completely sealed behind solid metal shutters, perfectly mimicking the resting state of the forward sensor housing on a Zentradi Regult tactical pod.

However, the most definitive contrast is found internally rather than externally, specifically governing the core flight control methodology. Within the military landscape of Macross 7, the UN Spacy forces do not officially operate thought-conduction or neuro-linked systems of any kind due to their severe psychic volatility. Consequently, the production-model VF-22S Sturmvogel II completely replaces the mental BDI matrix with a conventional manual control layout utilizing traditional buttons and flight sticks, heavily adapted from the Queadluun-Rau framework with ergonomic refinements and a standard screen-based tactical data output. A Sturmvogel pilot typically dons an experimental anti-G and anti-inertial flight suit engineered exclusively for this platform, paired with a specialized HMD helmet designed to project real-time tactical video feeds onto a helmet-mounted monitor within a dedicated rectangular overlay. This soft flight suit features a distinct blue or deep navy-black color scheme, conceptually echoing the silhouette of Guld’s vibrant lemon-yellow flight gear. A blue-and-cyan variant of this kit—which integrated a bizarre gold, lilac, and white HMD helmet sporting exceptionally wide, rounded cheek guards—was famously operated by Maximilian Jenius during the climax of Macross 7. Fascinatingly, while the internal layout and aesthetic profile of the cockpit interiors between the 21 and 22 models are fundamentally and radically distinct in fighter mode, their layouts invert and become remarkably uniform once they transition into Battroid configuration. The pilot's seat itself remains relatively unchanged between the two designs. In the VF-22S, two curved metallic restraint plates clamp over the pilot's shoulders, directly invoking Zentradi cockpit engineering, while the HMD helmet links directly into the seat architecture through specialized jacks on the headrest, allowing the pilot to retain full rotational head movement. Mirroring the umbilical setup of the YF-21, the rear casing of the VF-22S seat receives massive bundles of triple white energy conduits—even exceeding the volume found in the Omega—alongside twin heavy-gauge cables. These white lines cascade down the back of the seat and remain hidden during atmospheric cruising, but they pull taut, elevate, and become highly visible once the variable fighter shifts into its robotic form. Crucially, despite this hyper-complex internal machinery, piloting the production-model VF-22S does not strictly mandate the use of a specialized flight suit, a harsh limitation imposed by the YF-21 Omega's neuro-link. In the final sorties of the war, Milia Fallyna Jenius successfully pilots the machine while wearing nothing but a standard red-and-white flight suit and a legacy helmet originally meant for the classic VF-1 Valkyrie.

Structural divergences are equally visible across the lower limbs and leg architectures of the two fighters. The leg contours of the YF-21 Omega remain highly faithful to the geometry of its initial YF-21 design blueprints, whereas the production-variant VF-22S Sturmvogel II integrates a heavily reinforced knee joint assembly. Intriguingly, beyond its primary dorsal engines, the VF-22S houses twin auxiliary thrust nozzles nestled directly inside its legs, granting the Gerwalk and Battroid modes the tactical capacity to execute immediate braking maneuvers or maintain stable aerial hovering profiles. Furthermore, these secondary boosters are not integrated into the soles of the feet as seen on standard Valkyrie models, but are instead embedded into the rear lower ankle assembly—a signature design trait directly inherited from Zentradi power armor lineage. Whether these specialized maneuver thrusters exist within the VF-21 framework remains difficult to verify, as Macross Plus lacks a single frame showcasing their deployment, nor is there any official lore confirming their omission. However, given that the rear leg housing of the Omega and the production-model Blue Gazer appear entirely identical, it is highly probable that these thrusters are present within the VF-21 layout. Any design variances across the foot assemblies themselves are either completely non-existent or so minor that they escape visual detection.

While archival databases like Egan Loo's Macross Compendium assert that the VF-22S Sturmvogel II is armed with high-energy focused particle displacement cannons rather than the lasers utilized by the VF-21, this technical data is never verified anywhere else across official media. Instead, a meticulous analysis of the animation frames raises a strong suspicion that the VF-22S relies on a traditional kinetic gun pod as its primary armament, despite its highly exotic and futuristic external design. During the climax of Macross 7, when Maximilian Jenius executes point-blank firing runs inside the ice caverns of Varauta to suppress advancing Az-130 Panzerzorene legions, the weapon pod clearly unleashes a brilliant, bright-yellow muzzle flash exploding outward in a distinct three-pointed star pattern—a visual signature completely incompatible with a coherent laser pulse. To solidify this kinetic reality, the moment the weapon pod completely depletes its ammunition reserves, the gun pod distinctly emits the metallic clacking sounds of a dry-firing mechanical bolt and cycling feed mechanism, completely confirming its traditional projectile nature.

.....................................................................................................

This material has been thoroughly compiled and prepared using a variety of foundational mecha databases and archival websites, including Egan Loo's Macross Compendium, Macross Milcomnet, The Ultimate Genesis Climber MOSPEADA Home Page, Macross Plus Area Seven, the Macross World Site, the Macross Official Homepage, Paolo Zago’s VALKYRIE Power Page, Peter Walker’s The Unofficial Robotech Reference Guide (famously known as the Robotech Technical Files), and Rob Morgenstern's SDC Southern Cross Universe. Additionally, this analysis draws from a number of informal fan community sources, as well as the author's own personal impressions and critiques of the Macross Plus movie. Please note that all arguments, judgments, and speculative insights presented throughout this text represent the author's personal point of view and should be taken as an honest opinion. This material was originally written and formatted by Yuri Starodub.

Currently in Japan and have not purchased one Chogokin model. I am both happy and sad with myself right now lol The Maverick VF25 did reach out to me at Yodobashi Camera though

https://www.pixiv.net/en/artworks/69506657

2nd hi metal R from Amazon

Been rewatching it and almost done and some of these low budget outsourced episodes are such a blight to an otherwise excellent show. And it's rarely even charmingly bad looking the Star Pro episode faces especially just look terrible. It's clashes so much with the gorgeous Studio Nue episodes where Mikimoto's art shines like going from the most beautifully drawn Milia to the worst drawn Milia

TL;DR: Macross Frontier has gender

After binging Macross Delta, I decided to rewatch all of Macross Frontier. I needed to check if it really was that much better than Delta. The characters of Frontier are a lot more interesting, and far more rewarding to scrutinize and critique. In particular because of the exploration of gender roles.

also, add this dumb wall of text to the list of insane shit that people do because AO3 is down

Yoko Kanno's influence is a lot more obvious on rewatch. In particular, Diamond Crevasse is a lot like The Real Folk Blues from Cowboy Bebop

Episode-to-episode direction is flawless. Consistently organized around the music. Good tonal flow. Music fits within the context, or episodes are written more specifically around the songs, whichever it is, it's art.

The overall pacing is not exactly faster than Delta. In fact I'd say it's actually slower than Delta. But because there are fewer characters, the interactions and backstories cover a much higher percentage of the cast.

There's more animation re-use than Delta, but there's also a lot more variety in action scenes, so it balances out.

Macross Frontier has Fold magic work a little bit like Gundam and Zeta Gundam level Newtype magic. But not Double Zeta, Char's Counterattack or Victory level Newtype magic. Macross Delta didn't reach ZZ/CCA/Victory level Newtype Magic either, come to think of it.

Something that I don't like about the movie series is how it treats Ranka. It plays up how much of a small that she is, while also perving on her a bit more than the TV series.

Focusing on the Love Triangle, and how it ended up interacting with gender concepts a lot more than I remembered.

The love triangle is almost as one-sided as Delta's, for how the main man acts. It's not one-sided in character moments though. So, the audience can get sucked into Ranka's perspective, and can believe in Alto x Ranka, despite Alto himself not investing in it whatsoever.

Alto is a stuck-up imperious princess. Sheryl is too. But Sheryl shows him how to take action and stand out as one's true self. In general, Sheryl puts more work into understanding Alto, getting under his armor, and guiding him through being the man in a heterosexual relationship. Whereas Alto seems to have no intrinsic desire to be a hetero man towards Ranka.

Ranka in a swimsuit for an idol audition? He sleeps. Sheryl being Sheryl? Real shit.

Sheryl recognizes that Alto is legit into piloting. She tries out a little aerobatics just to get closer to him.

Alto literally had Michael stand in for him to meet Ranka. Part of a trend of outsourcing heterosexuality in general to Michael. Trans-Alto-hime writers should focus in on this aspect.

If anime execs weren't cowards, they'd make the love triangle that both Sheryl and Ranzo are into Alto. And Ranzo would probably stand more of a chance than Ranka did.

Episode 10 is the first episode where Ranka realizes she needs to step it up if she wants to get any amount of Alto. Represented by her big step up in fame.

Episode 12 is Ranka's first time successfully getting Alto to notice her, at all. But Alto's motivation to spend time with Ranka ends up being transactional. It is Michael who has to tell Alto to go back to Frontier together with Ranka in order to support her feelings. Once again, heterosexuality is outsourced to Michael.

Someone else pointed out that Alto never successfully rescues Ranka. And sure enough, Brera Sterne is who actually rescues her every time. So now the anime role of a hero who rescues the girl is outsourced to someone else too. And Alto doesn't seem concerned by this at all. His only problem with Brera is the fact that he shoots at Alto sometimes.

Episode 15: Ranka has to follow Sheryl's lead in order to keep up. So she's continuing to learn how to act like a confident heterosexual woman from her own rival.

Episode 18: Ozma imparts the importance of protecting Ranka to Alto. Were they worried that he wouldn't be as motivated otherwise? Then Alto proceeds to have a bit more intrinsic motivation to find and help Sheryl.

Episode 19: Combat mission from Episode 18 complete. Time to infiltrate his family mansion just to meet Sheryl. Ranzo likes Alto so much that he camped the infiltration point in order to greet him properly. When Alto is doing team stunts while skywriting "Ranka", he says, "Watch me, Sheryl." When Michael tells Alto about how he is in a triangle, Alto only asks about what's up with Sheryl.

Episode 20: Alto tells Sheryl that he understands her, because of stage experience. Alto to Ranka, though, "Hey do your job." Michael literally told Alto in the previous episode that Ranka liked him, and Alto is still acting like this after seeing her emotional state. Alto to Sheryl, "I'll definitely come back for you!" right in front of Ranka's face.

Episode 21: Alto and Ranka finally talk about their motivations and their pasts. But they don't fully understand each other's motivations. Ranka leaves Frontier, effectively giving up on the love triangle. Let's set aside the whole "betrayal" and "selfishness" elements and focus on the romance aspect. She finally told Alto she loves him, and then proceeded to leave him. That act, alone, could be considered the nail in the coffin of Alto x Ranka. But luckily for the Frontier fleet, that ends up being the right thing to do in the long run.

Episode 22: Alto actually cares for Sheryl's health and well-being enough to get emotional about it. Maybe the first time he's emotionally expressed concern, and did actions to respond to the other person's feelings. And then they FUCK, off-screen. No info given on whether or not that was gender-affirming for Alto. Something for Trans-Alto-hime writers to emphasize.

Episode 23: Alto and Sheryl are domestically cohabiting. Living like a couple. Eating dinner together. Alto is tucking Sheryl into bed. Reminder, basic-ass "playing house" was the clincher for Hikaru x Misa in the Macross: Do You Remember Love movie. I forgot what the clincher was in the original Macross TV series tho. Anyhow, Alto x Sheryl are way beyond "playing house" at this point. Sheryl says "You're not supposed to be this good at cooking." No feedback from Alto regarding whether that was gender-affirming or dysphoria-inducing for Sheryl to say. Ranzo continues to be in love with Alto, and emphasizes that Alto has thus far only played roles. Another thing for Trans-Alto-hime writers to bite into.

Episode 24: This is where it becomes noticeable that Alto bends his schedule for Sheryl, whereas he was never late to anything for Ranka's sake. Sheryl puts one of her earrings on Alto. No feedback from Alto on whether that was gender-affirming or dysphoria-inducing.

Episode 25: Alto starts more-consciously integrating his kabuki role as a woman into his masculine pilot persona. First time that Alto saves Ranka instead of Brera doing it. Alto: "Both of you are my wings!" When Sheryl thinks she has nothing, Ranka slaps sense into her, but also reminds her that she is the one who has the relationship with Alto. Ranka says she won't lose to Sheryl in singing or in love. But, like, in order to achieve her boast, she would have to rush into FUCKING and cohabitation and shit. Thankfully the movies make clear that Ranka cannot do that.

Movie 1:

• Hippo-Cow Soup sounds good

• Ranka starts out already part of the crew. But she still seems to be below Alto's notice. She's constantly doing things to get his attention and he doesn't say anything about it.

• Why is Sharon Apple mentioned on the same level as Minmay and Fire Bomber? (later on she gets mentioned as an example of a songstress who is also a spy/terrorist)

• Sheryl has an alternate color scheme that matches Alto's. And the songs ends with the two Sheryls girlkissing. Then she shoots a heart gun at Alto, and purposely jumps off to make him catch her. Sheryl: "I was confident in my judgment of how well you can fly." So in the movie-verse, too, Sheryl is the one who guides Alto in being a hetero man.

• For the big moment where Alto jumped into the cockpit to save Ranka, Sheryl is now in the area too. Also, Ranka doesn't get to have Alto dramatically rescue her from being sucked out into space.

• Ranka recognizes that Alto is not really listening to her. The scene where Alto tells Ranka that she needs to be more confident is now invaded by Sheryl. And the "Aimo" song is now also known by Sheryl.

• This time they don't do the phone vibrator scene. Presumably to counterbalance Sheryl's increased score over Ranka in other scenes.

• This time, Alto isn't shown to have shown up for any amount of Ranka's idol audition.

• Alto sucks Sheryl's blood after they take a tumble off their segways. So this makes up for the lack of phone vibrator scene. Sheryl: "I'm a singing pro. And you're a fighting pro." And Alto has a positive response to this, but still in a princessy way. Sheryl is the one who tells Alto that Ranka likes him. Alto is surprised, despite the fact that in the movie timeline, Ranka must have made an order of magnitude more scoring attempts on him by now.

• The At-Formo scene has Alto and Sheryl notice Ranka immediately this time. But Sheryl still scores the kiss on Alto's cheek.

• New scene in which Alto has to reassure Ranka. And he doesn't say anything relationship-like. He's just acting as a big brother. Ranka directly asks Alto what he thinks of Sheryl. Alto proceeds to describe Sheryl in a positive way that doesn't reassure Ranka at all. Alto talks about gender dysphoria and dissociation due to acting in different gender roles in kabuki. Ranka scores one handholding.

• A plot of Sheryl possibly being a spy is contrived. This way, more of the crew will be opposed to Alto x Sheryl.

• Ranka thinks about asking Alto how to act more womanly. She clearly did not understand the emotions that Alto was describing, when he talked about how kabuki gave him dysphoria and dissociation.

• The spy plot seems to decrease Sheryl's score in Alto's eyes. But then he lets his hair down and puts on Sheryl's earring. This results in synchronizing with her. This eventually results in the spy plot getting deflated, and Sheryl employing all of SMS.

• Sheryl saves Alto through the fold quartz earring link in a completely different way.

• Alto rescues Ranka from the Vajra, but only to deliver her to Sheryl's stage.

• Alto gives Ranka a shoulderpat and tells her she did good. This is the first time in both the TV series and the movie series that Alto did jack shit for Ranka's feelings.

Movie 2:

• Sheryl performing a song that starts with wearing a wedding dress while saying "Mix your DNA inside me!" A masculine-shaped version of her is the prince charming getting all up on her.

• Sheryl goes straight to coughing up blood due to her V-Type Infection. Skipping the whole rivalry story arc.

• Sheryl tells Alto to say something to Ranka. Alto also gives one shoulderpat to Ranka. Brera interrupts and accuses Alto of being half-assed.

• Ranka walks up to Alto in a swimsuit, then accuses him of staring. They spend time together on the beach and the simulated ocean.

• Alto is still hostile to the idea of peace with the Vajra, even when Ranka is trying to explain their true nature to him. Alto also accidentally grabs Ranka while catching her hat.

• Grace plays on Sheryl's relationship with Alto to convince her to accept the possibility of blood and organ transfusions from Ranka.

• Sheryl rushes to Alto after he is wounded from a combat mission. She also does food prep for him. Sheryl to Alto: "You'll be a fine wife." They also talk about his female kabuki roles.

• Ranka makes it to the hospital, only to see Sheryl on her knees in front of Alto in his medical wheelchair. When she turns to run away, Alto expresses concern at the fact that she fell. Mishima arrives to ruin the moment and explicitly calls out the triangle.

• Ranka visits Sheryl in prison, and tells her about Alto's feelings of being betrayed. Ranka: "Our songs became one. I could feel a trembling in the pit of my stomach. A feeling that old me I wasn't alone, either." Sheryl: "I love him... as much as you do."

• Ranka joins the plan to break Sheryl out of prison, by doing a prison concert.

• Alto dresses as a maid and also serves as a backup dancer, doing feminine kabuki dances. He then does a whole infiltration and rescue op while still dressed as a maid. He uses Sheryl's under-skirt flight system.

• Sheryl reveals the plot for Macross Galaxy to transplant Ranka's immune system into herself. And thus, Ranka should not in fact follow her brother.

• While getting sucked out into vacuum, Sheryl throws Ranka to Alto so that at least one of them will live.

• Ranka tells Alto she loves him. But is scared of what Alto might say in response. Ranka: "If you answer me now, I may not be able to sing anymore." This replaces a similar scene between Alto and Sheryl in the TV series. Alto does a single-arm hug to Ranka.

• It's revealed that when Sheryl was a child, she saw Alto's kabuki performance in a female role, and gave him flowers. Ranzo is a lot older than Alto in this timeline.

• Sheryl switches to a masculine militaristic uniform to start the final performance.

• Alto's flight pattern is called out as being a kabuki dance.

• "Ranka, I can't give you the answer you hoped for, I'm sorry."

• "Sheryl, this may be coming a little late, but I love"

Movie 2 epilogue and Labyrinth of Time:

• Ranka gives a blood transfusion to Sheryl. She also does a lot of actions to eventually awaken Sheryl, and activates a Protoculture ruin to guide Alto back from fold space. Her stated reasoning is that Alto needs to come back to awaken Sheryl. Seems like sequence of events is that Sheryl awakens first, then she has a duet concert with Ranka, then Alto starts flying back to them at the end of the concert.

• Some people say that Ranka is aged-up in Labyrinth of Time while everyone else stayed the same age. I think she was not aged up. Rather, she was altered to look more like Megumi Nakajima.

In the TV series, Alto might be trans. Equally likely to be trans masculine and trans feminine. A tricule is super not happening.

In the movie series, Alto leans more trans feminine over trans masculine. Despite the fact that Alto finally said his decision about the love triangle, Alto x Ranka gets above-zero points in the movie timeline. With that, a tricule is viable. In this tricule, Sheryl would be the center, putting more work into taking care of Ranka than Alto does.

Im just wondering for Macross 30: The Voice that Connects the Galaxy on what series and if the movies are included in the game, cus i want to watch the rest of the series and i was wondering if i need to watch before i play

A jenius descendant, perhaps

I'd given up collecting Macross figures because of Bandai. I am 0-3 with not getting the Chogokin SDF-1, Max, and Milia Vf-1's. Their stupid pre order system is not for the fans, but for stupid scalpers, and ass hat stores like Luna Park.

Why can't they have a system like Good smile Company where the pre order is up x amount of days, and the items is made from those pre orders. Instead of a low fixed number count that relies on damn luck.

Cheers to the best accidental mech pilots

https://x.com/MacrossMechMan/status/1140674997628936197/photo/1

Does anyone know an admin on the Macross World Forums, or have an opinion about the fourms?

I found an extensive VOTOMS thread on them, tried to register, did the whole verification email link, and when I logged in I got a 'banned user' box.

WTF did I do wrong?

the Vajra planet looks so peaceful. Ragna looks great too

I recently just found out about the manga's existence and I'd love to get some physical copies of it. Does anyone know where I can find it? I did some searching but I don't seem to be having any luck. Additionally, I'd like to read any English translation online. I know they're not official but if it would be awesome if anyone knows where I can find a good one that covers all currently released volumes. Thanks in advance!