[Interview Articles] How was the DX CHOGOKIN SDF-1 MACROSS born? ━ Mechanical Designer Kazutaka Miyatake x Concept Designer Hiroyuki Motoki (T-REX)

--What do you think of the "DX CHOGOKIN SDF-1 MACROSS"?

Miyatake: Today was the first time I saw the actual thing during the photoshoot...I'll deliberately use the word "actual thing," but honestly, I was relieved to finally see that it was the correct three-dimensional representation.

MotokiDuring the supervision phase, we were naturally concerned about whether a large model exceeding 600mm could actually support its own weight, as it was still in the prototype stage before the molds were even carved and in the state of the printed parts. However, seeing the test shots today, which are almost the final product, truly impressed me. The overall coherence and level of completion of the product were fine-tuned by Mr. Kimura and others at BANDAI SPIRITS, and it turned out to be a great product.

—How was the supervision process?

MiyatakeAs a designer, I'd say every meeting is like a "preliminary sketch" to create that gigantic MACROSS. At the supervision stage, whether I draw the pictures myself or explain them to others, there's a sense of dread about it all. I'm not convinced myself. I haven't met the conditions for being convinced. But today, for the first time, I've met those conditions.

MotokiNormally, the supervision process ends after one or two exchanges, but I think we were able to create something good because we were able to repeat the process of receiving feedback, making revisions, and so on.

—What about adding details?

Motoki: In the initial supervision, you first checked the model I showed you, right? Then, you drew in any missing details on a 1/1 scale (actual product size) drawing. It was because of that that the resolution and precision of MACROSS ship improved.

MiyatakeIf it hadn't been a MACROSS ship, that task wouldn't have been possible, and it wouldn't have made sense. It was a task that was necessary and possible precisely because it was MACROSS ship.

Motoki: I was really grateful that they added details that are different from The Movie, specifically for the TV version. The molding is sharp, and there are so many things to see. There are new details drawn by Mr. Miyatake, and I can confidently say that this is a model unlike any other.

▲Mr. Miyatake supervising the work. Facing the drawings printed at 1/1 and 1/2 scale, Mr. Miyatake personally added details by hand, amplifying the amount of information.

MiyatakeAs a designer, the basics are to visualize things in your head and to draw them on paper. However, I can't draw them on a large scale. I can draw some kind of visual. I can draw the necessary parts. I looked back at a lot of real-life giant aircraft carriers, US Navy aircraft carriers. But the more I looked, the more I realized they were different. There isn't one that's 1.2km long. I was trying to chase after that and draw it, but I couldn't quite capture my own image. I didn't know if I would ever be satisfied with this drawing, or if I would ever get an answer. But, from the time it was delivered to my house during the supervision stage, I had a feeling it was going to be something amazing.

▲The "Transform! MACROSS Robo!" exhibit at the "The Super Dimension Fortress MACROSS The Super Dimension Fortress MACROSS Exhibition," an event commemorating the 40th anniversary of the broadcast of "CHOGOKIN SDF-1 MACROSS."

MotokiMy encounter with Mr. Miyatake began with the project "Transform! MACROSS Robo!". We worked together quite closely on that project before arriving at this product, so it was a big help that I already had experience in identifying the key points and crucial aspects. Moreover, I am truly grateful to Mr. Kimura of BANDAI SPIRITS for allowing us to have such close discussions in order to create this as a TV version of MACROSS. Normally, we don't have the luxury of having so many opportunities for supervision. It's also rare to have the details drawn on the blueprints on the spot, so I actually feel a little sad when the product is finished (laughs).

—I suppose there are design challenges precisely because of its sheer size?

Motoki: Absolutely. For large models, the main issues are the weight and the locking mechanism. Of course, when designing with CAD, there's no weight on the monitor, so it looks solid no matter the form. But when it comes to the "real thing," it's a real 650mm long and heavy, so issues with flex, strength, and locking arise. We had to be really careful about incorporating mechanisms like ratchets in various parts to ensure secure fastening. Even then, it was still in the prototype stage as a design, so when we carved the mold, we had BANDAI SPIRITS actually test it, and that's how the current model was completed.

-Are there any gimmicks that were only possible because of its large size?

MotokiFor example, the shoulder shutter can be slid out during deformation.

Miyatake: Hey, are you able to reproduce it?

MotokiYes. They come out in a jingling sound. And the interior is a recreation of a city. The sides of the legs are removable, and the cityscape has depth, recreating everything from the main street to Miss MACROSS 's concert hall. I actually asked Mr. Miyatake about the internal structure of the legs when he was supervising the project. BANDAI SPIRITS did a great job adjusting the lighting this time, recreating the passage of time throughout the day with light.

MiyatakeThe way the light is depicted is beautiful, isn't it?

MotokiI think the details and lighting all contributed to a great presentation.

—What about Kercaria, which also serves as the switch for the lights?

MiyatakeThey're fun as accessories, aren't they? They're cute and they actually work.

Motoki: At first, Mr. Kimura contacted me saying, "The switch for the lights should be Kerkaria!" and I was like, what is he talking about? (laughs). But since we were at it, I gave him the design data and asked him to include movable legs and omit them if it was too much...and it turned out really well.

Miyatake: Kerkaria is my favorite mecha in the TV series. Its legs move to allow it to walk on all fours. However, it seems that the meaning wasn't conveyed to the production team when I designed it...

Motoki: Because it's a large-scale model, we were able to properly recreate Kercaria.

Miyatake: There aren't any other suitable mechanisms to use as a switch, are there? (laughs)

MotokiYes, that's right. It was the perfect size.

MiyatakeI never thought Kercaria could be used as a magnetic switch, but that was a great idea.

--Please tell us about MACROSS Cannon.

Miyatake: First of all, it wouldn't make sense if a giant ship didn't fire its main guns. So, that single breakthrough changes the focus of the story. Rather than having the entire focus on the Valkyrie, I set it up so that it would fire those guns, even if only for a moment.

MotokiEven though the design seemed to have the correct balance according to the specifications, when we printed it at that size, the actual appearance was completely different. The length and balance were correct according to the specifications, but it still looked different. So, after consulting with Mr. Kimura, we prepared four types of Canon parts, one with the correct settings and one with +20mm, 30mm, and 40mm added, and had Mr. Miyatake check them.

▲Design drawings for the "DX CHOGOKIN SDF-1 MACROSS". After the initial prototype was reviewed, MACROSS Cannon's barrel length was extended to adjust its balance as a three-dimensional object.

MiyatakeI chose the 20mm extended version for aesthetic reasons.

Motoki: I was a little worried that 40mm might be a bit too long, but I think it was easier to understand because we were able to show you the models that exceeded 600mm in person.

—Daedalus and Prometheus are also of incredible quality, aren't they?

Motoki: It's not just an assault-type arm; it's a well-built ship, so even as a single unit, it has considerable volume and gimmicks. But why did you decide to make a warship an assault-type arm in the first place?

Miyatake: I wanted something to compare MACROSS ship to. A 300-meter-class aircraft carrier looks that small when compared to MACROSS. That's to make people realize that there's a Valkyrie, then an aircraft carrier, and then an even bigger ship.

Motoki: I see, even with an aircraft carrier next to it, it's still so big! By the way, the Armed units that are the hands of MACROSS ships The Movie also appeared in the TV series, but was the decision to use them in The Movie made later?

Miyatake: That was added later. The Armed was originally a floating dock on the moon.

MotokiMACROSS ships are so strongly associated with the Daedalus Attack. I thought that scene and its use were amazing, and it was something I absolutely wanted to recreate in this model.

MiyatakeIf I had to say, that scene was only possible because of animator Ichiro Itano. It was because of Itano that we were able to visualize the Daedalus Attack. It wasn't just about the Valkyrie's combat; it was a necessary direction to bring out Itano's abilities to the fullest.

Motoki: As per the design, the Daedalus has three ramps extending from the bow, and I was able to create a spectacular display with three monsters and a tomahawk lined up. At this size, even when compared to MACROSS ship, you can clearly recognize them as monsters. This is one of the highlights.

--Please tell us about the deformation.

MiyatakeFirst of all, the premise is to turn the ship into a robot, and the basic idea is simply "just make something that's lying down stand up." However, we don't intend to just design it and push it forward; a certain level of detail is necessary. Within that, there's no point in going overboard, but there's also no point in not doing anything at all.

Motoki: You say it's just a matter of making it stand, but when you actually make it three-dimensional, it moves in a very theatrical way. The consistency of the transformation is already established in the setting and the video, and the transformation and extension of the body are very simple yet effective in terms of presentation. The way the chest area becomes the head by folding the bridge, and the change in balance is really amazing from a design perspective, but the size of over 600mm is still a concern...

Miyatake"I thought, 'Are we really going to achieve 650mm?' But as a designer, I basically have a service-oriented spirit. I have my own way of judging what constitutes a service and what goes too far. I set up the mechanisms for the rotation and other gimmicks. I set them up, but I still wondered, 'Is this really okay?' (laughs)."

MotokiThe most important things are weight and flexibility. Since it's a Form model, the best thing from a design perspective is that people can have fun with it. So we used plenty of die-cast metal to ensure strength, and we focused on making it possible to pose it in a cool, aggressive way and securely. Even in the fortress ship form, there are parts to securely lock Daedalus and Prometheus together, and we designed it with the idea that people can have fun with each Form.

--Finally, could you tell us again what you find appealing about the "DX CHOGOKIN SDF-1 MACROSS"?

MotokiThis time, rather than saying "we put extra effort into this part!", the highlight is the entire model, including the Form. The transformation around the chest, the bridge, the lighting, the shoulder shutters, and the leg extension gimmick, for example. There are highlights in every part, and there are no other models of Daedalus or Prometheus that are as meticulously crafted. If I had to say one thing, it would be that it's a model you can actually play with. It's not something you handle with trepidation or just display; it has the strength to actually transform and play with. That was our biggest design focus.

MiyatakeUp until now, a considerable number of VF-1 Valkyrie products have been made, but I felt that MACROSS ship had to be at the same level as it was to be a playable grade. When we established Valkyrie and MACROSS as the two main pillars, it was inevitable that we would be in a rivalry with Shoji Kawamori. Even back in the days of the Takatoku version, I felt that MACROSS ship couldn't be outdone. Ultimately, the designer's true intention was that Valkyrie and MACROSS had to stand side by side for it to be meaningful. To be honest, I still had a sense of dread until I got here today. I didn't know until I saw the real thing.

Motoki: What Mr. Miyatake showed us was merely a prototype.

MiyatakeToday marks the first time I've truly come to terms with MACROSS ship as a person; I've finally found my own answer. I'm finally satisfied. I think it's really cool.

Motoki: I'm truly grateful to be involved in this project. It feels like a dream come true, considering I watched the TV broadcast 45 years ago. Without Mr. Miyatake's supervision and detail improvements, it would have been incomplete. It was only through our collaboration with Mr. Miyatake that we were able to achieve this level of quality and coolness. I'm extremely pleased to have received such praise from Mr. Miyatake.

MiyatakeStudio Nue's fundamental philosophy is that the designs aren't just settings for animation. We want them to be made into products. In fact, the product itself is more important than the animation, and at least both Kawamori and I believe that the three-dimensional object is the real answer. This is MACROSS ship I've always envisioned. There is no better answer when it comes to MACROSS ship. This answer will probably never change.

--Thank you very much.

"DX CHOGOKIN SDF-1 MACROSS" scheduled for release in November 2026.

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