Seto Kaiba

For what it's worth, the whole "five year mission" concept isn't even a thing outside of TOS and the other 23rd century titles (TAS, DSC, SNW). Five year missions were only really a thing for the big deep space explorers like the Constitution-class and Excelsior-class in the 23rd century. Starfleet seems to have gone away from the idea after the 23rd century given that the concept vanished from Trek entirely with TNG and wasn't mentioned again until DSC and SNW. Even if they still did that kind of thing, the USS Cerritos isn't one of the big multi-mission deep space explorers that gets sent on that kind of mission. She's a rear-echelon utility ship of a type that both TOS-era (and PIC era) material classifies as a tugboat. Star Trek: the Next Generation cut the idea out entirely. The opening narration changed from: to: Star Trek: the Next Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager all adopted the premise that one season equalled one year of in-universe time. TNG's seven seasons span seven years from 2364 to 2370 with the movie being set one year later in 2371. DS9's seven seasons span seven years from 2369 to 2375. VOY's seven seasons span seven years from 2371-2378. Star Trek: Enterprise followed the same basic approach too, with its four seasons spread between April 2151 to January 2155. Star Trek: Discovery seems to follow the same approach was well, with its two 23rd century seasons spanning 2256-2258 and its two completed 32nd century seasons spanning 3188-3190. Star Trek: Picard breaks the pattern a bit with its first season set in 2399, its second and third seasons both taking place in the first half of 2401, though that still averages out to 3 years in-universe time = 3 seasons. Star Trek: Strange New Worlds is a bit more of a pattern-breaker as it's indicated that seasons one and two both take place in 2259. Star Trek: Lower Decks's four seasons currently span a two-year period from 2380 to 2381. So, you're right for the wrong reason... it is like 2-2.5 year story but the whole five year mission isn't a thing at the time the series is set.

To be honest, I'm not surprised... though I'm not sure I'd rush to call it a generational thing either. Consider how much of an impact the change in the working environment has to have had. Barring a ratings-driven cancellation, a series used to be a 7+ year commitment to the 24 episode season model and a whopping 168+ episodes when all was said and done. Nowadays a season can be as short as just 8 episodes and it's not uncommon for a streaming service to pull the plug on a series after just one season. Hell, the only thing that stopped Discovery from being just another one-season wonder (or blunder) was that CBS threatened to sue Netflix for breach of contract when Netflix announced its intention to withdraw from funding the series based on its poor viewership numbers. It wouldn't surprise me at all if this uncertainty combined with the much lower episode counts led to a reduced willingness (or even reduced opportunity) to engage with coworkers on a personal level. If Strange New Worlds goes for seven seasons, it'll still finish with fewer episodes in the can than Star Trek's original series did after just three seasons... 70 vs 79. Discovery will have just 65 episodes when it concludes its fifth and final season thanks to repeated reductions of its season length. Lower Decks will have just 50 episodes under its belt when that series ends (assuming it doesn't get rescued). Star Trek: Prodigy finished with 40. Picard limped to an undignified finish with only 30. The only Star Trek series that's shorter than these new shows is The Animated Series which was cancelled after just 22 episodes. That's not "entitlement" or "instant gratification" culture, my good chap... it's a test. The younger millennials and gen z members of the workforce have a much better and more intuitive understanding of this point right here... ... than the boomers and gen x'ers do. This point actually applies to almost everyone below the c-suite, but it's only those younger workers who've really internalized the reality. They're probing to see if there are opportunities to advance, to get closer to the work they want to be doing. If the answer is an immediate "No", then that's one less reason to stay and a sign that moving on will almost certainly improve their odds of getting where they want to be. They want to be mentored. They want the responsibility. They just don't want to stick around forever waiting for a chance that's never coming. From what's been leaked to the entertainment media, the working environment on the new Star Trek shows leaves a fair bit to be desired. Discovery in particular is described as being downright toxic, with writers and producers regularly fighting and insulting each other and the occasional dismissal for cause from CBS/Paramount HR. That said, I don't think that's what's influencing Discovery's direction. If you look at the staff bios, the people calling the shots here aren't millennials or gen z... they're almost all gen x. Discovery doesn't seem to be aimed at any demographic in particular, unless we're counting "edgelord" as a demographic now. It's this bleak, depressing, hate-filled, high tension mess that all generations of Star Trek fans seem to reject in equal measure. It's not just that the reviews on review aggregator sites consistently rank Discovery as the worst Trek series ever made and the second-worst title the franchise has produced in total (beaten out only by Star Trek V: the Final Frontier). If you look to social media, fans of every demographic seem to find the show borderline unwatchable. It doesn't matter if it's Facebook, Instagram, Reddit, Tiktok, YouTube... Discovery is a joke. The days back in season one when fans would white knight against the critics by claiming dislike of the show was motivated by racism are gone. The honeymoon is over and the bloom is off the rose. Michael Burnham is now widely regarded as The Worst Captain and the butt of oh-so-many jokes about her sociopathic tendencies and how especially frequently she cries. Saying "Discovery sucks and is unwatchable" isn't derided as a hot take, it's usually just met with "we know, it's why we don't talk about it". Trek on social media is old Trek, Strange New Worlds, and Lower Decks. The last time I saw a Discovery post that wasn't negative, it turned out to be a targeted ad for Paramount+. That's immensely frustrating, considering Strange New Worlds seems to basically carrying the franchise among general audiences at this point. I have to wonder what they're basing these decisions on, because it can't be average viewership on Paramount+... those reported numbers suggest Strange New Worlds is easily the highest performer of the lot. Strange New Worlds and Picard were both launched to save CBS All Access/Paramount+ from Discovery's failure as the flagship series for the service. It can't be awards, because Discovery has only really won minor and technical ones. It can't be reviews, because they'd surely have noticed it's only the professional critics who are speaking well of the series and that audience reviews are in the toilet with as much as a 50 point delta between the critics and audience. It's not merchandise sales, because the merchandise for Discovery is frankly tragic (though not as much so as Picard) and it's the legacy stuff that's carrying the brand. The international viewership numbers were so bad they lost the company financing it and had to fund it by tanking their stock price with a massive share sell-off. What do they have that's driving this faith in this awful new brand of Trek that nobody seems to actually like? It's terribly confusing.

A Salad Bowl of Eccentrics remains an... unconventional choice. For a comedy, it's somewhat odd that it takes the time to address the realistic struggles of homelessness in Japan. Not gonna lie, I am legitimately enjoying this one... in no small part because Sousuke and Sara's rapport is just good. The writing definitely brings across that these two weirdos are genuinely having fun and enjoying each other's company, and it's easy to get swept up in that as a viewer too. A Condition Called Love is one I'm still torn on... mostly because the main guy is still giving of serious stalker vibes. All in all, I hope this series will develop in a less creepy direction... it could be a cute romance if Hananoi stopped giving off such intense stalker vibes.

Are you asking if Discovery's fifth and final season is worth watching? No, it's not. It's less aggressively awful than Discovery's first three seasons, but IMO it's worse than Season 4. It's trying really hard to take the Picard Season 3 way out by massively increasing the density of references to previous Trek shows, but it's much less effective because none of the characters have any personal link to those shows. Just seven more episodes and this dreary mess of a series is done.

Spring 2024 has proven to have an unusual number of interesting and unconventional titles... I've recently added Viral Hit, Grandma and Grandpa Turn Young Again, Mysterious Disappearances, Unnamed Memory, and Tadaima, Okaeri to my watch list. That brings the total to twenty-four simulcasts this season. Gonna watch a bunch of new episodes over lunch today. 😄 Starting with HIGHSPEED Etoile #2, the series that does motorsport such a disservice that if you think racing is boring it'll validate your opinion AND your parking! HIGHSPEED Etoile is probably the single most skippable title of Spring 2024. Don't fail to miss it. Unless you're chucking it in the bin... then don't miss, because littering is a misdemeanor and this series is trash. Studio Apartment, Good Lighting, Angel Included continues to be solidly OK. 6/10 territory, nothing remarkable or particularly interesting but still at least mildly amusing. It's possible this series can develop to be something truly good, but for now it's So OK It's Average! Viral Hit is a new one that just dropped recently... and given the premise I'm kind of surprised there hasn't been an outcry from the Moral Guardian types over a series about a guy who decides to livestream beating the stuffing out of the bullies at his school. Something something imitatable acts. The premise is out there enough that I decided I had to give this one a whirl. Well, I came expecting something far outside of the usual and Viral Hit did not disappoint. It's almost unsettling, both in terms of how sociopathic many of the characters (esp. the streamer Pakgo) are and how readily everyone is ready to resort to public violence. I am interested to see where this one is headed.

Man, we can't have anything nice these days. Why cancel one of the few things that Paramount+ and Star Trek have going for them? Going to be pretty upset if it turns out this got canceled so they could divert the money to Starfleet Academy.

One of the few bits of good news to come out of the franchise in recent days. Strange New Worlds is one of the two new shows they've made that's actually good.

Putting aside the fact that that's not exactly movie-worthy... We're talking about a child who is more than 50 years old and is still essentially a toddler. The kid's unlikely to even hit adolescence in Din Djarin's lifetime. Remember a few posts back when I mentioned how there's really nothing left for Din Djarin and Grogu to do that wouldn't just be starting over? You just provided an example of my point. Dragon Ball and Dragon Ball Z are effectively separate stories. Kid Goku's adventures come to an end with the defeat of the second Piccolo and running off with Chi-Chi. That's the end of the conflict driving the story. Dragon Ball Z's story picks up five years later with a completely different conflict and a completely different context for basically everything the series had established up to that point. It wasn't a segue, it was a hard stop and a complete change of direction. Season three's ending was the payoff for all the buildup we've had in the three seasons of the TV series. The hero's quest is over. It's either gotta be a whole new quest, with new stakes, or it's gonna be something unnecessary that just feels tacked on... like Solo: a Star Wars Story. That was the problem. The story had what was every definitely an ending - and a happy one at that - and then because they couldn't bring themselves to make a clean break and develop new characters the Original Trilogy's cast had their happy ending invalidated in the name of unnecessary continuations. The franchise ground them down into miserable broken stubs of the characters they once were. Then Disney bought the franchise and threw all of that out... but only so they could speedrun that sh*t themselves and give us a very similar pack of miserable burnouts in the sequel trilogy. Sometimes... the best thing an author can do to their story is end it. Din Djarin's story came to a natural and satisfying end in The Mandalorian season three. There's nothing left in the story that merits a movie to resolve.

Happy to help. It seems likely that person assumed that Bandai had acquired Takatoku because Bandai ended up purchasing a number of Takatoku's molds when Takatoku's assets were divided up and liquidated by the courts to repay its creditors. It's not to say Bandai was uninvolved... their wholly-owned subsidiary Popy was the company who successfully gained exclusive access to Toei's Kamen Rider license, depriving Takatoku of vital revenue in the years before its bankruptcy.

It's not a question of whether there's "room" for more... but a question of whether it makes sense for there to be more. The Mandalorian is a serialized story, not an episodic one. It's a single story rather than a loose collection of unrelated stories featuring the same characters. It has a beginning, a middle, and an end, and it flows from beginning to end based on its protagonist's interactions with the plot's central conflict. A story is all about the protagonist having a goal that they have to meet. Just because a character is still alive after their story ended doesn't mean there are more stories about those characters that are worth telling. (That point is something on prominent display in Macross, for example. Rather than drag the same characters back and force them into new stories after their own has reached a satisfying conclusion, it lets them go and moves on to tell new stories with new characters. We've had no shortage of examples lately that show exactly what a bad idea it is to try and force the return of characters whose stories are over... Indiana Jones and the Dial of Destiny, Star Trek: Picard, The Book of Boba Fett, Obi-Wan Kenobi, etc.) The story of Din Djarin reached what is unmistakably a conclusion at the end of season three. He's always been driven by The Quest, but he's fresh out of those. He completed his quest to capture the child for the bounty, his quest to deliver the child back to its people, his quest to rescue the child from Moff Gideon, his quest to restore his honor after having dishonored himself on his quest to rescue the child, and then his quest to reunite his people and restore his people to their homeworld. What's left?

It was a modular pallet system. The bays were designed to accept a standardized weapon pallet that could be loaded with different configurations of weaponry like reaction weaponry, long-ranged missiles, medium ranged missiles, or micro-missiles. The YF-21/VF-22's internal bays are the same.

TBH, a lot of the Reddit post in question feels like wishful thinking rather than anything grounded in fact. #3 in particular feels a bit... overdramatic? Harmony Gold's mismanagement of its own Robotech franchise had little real bearing on Macross until around 2001 when they filed for the trademarks they used to block Macross licensing in the west from 2001-2021. Big West had basically a free hand to distribute Macross sequels outside Japan until that point, but the hairshirt budget and razor thin margins of most western anime distributors at the time meant that certain titles (Macross 7) were too expensive to obtain because of how much the music rights cost for such a heavily music-driven series. Harmony Gold was only really able to interfere with Macross Zero, Macross Frontier, and Macross Delta... but it didn't exactly stop audiences from watching them (fansubs) or buying merchandise direct from Japan. It did lead to Japanese home video releases having official English subs, though, starting from some of the Frontier re-releases. The idea that Macross outpaced Gundam is a bit silly in general terms. Gundam is the 800lb gorilla of the mecha genre and there are few properties out there that could match its brutal assembly line pacing in putting out new series, movies, and OVAs. Lately, they're churning out multiple titles a year. In comparison to Gundam's mass production of media, the Macross franchise is something more... artisinal? It's the product of one weirdo and his mates who put out a new title maybe every five years or so. That new title might just perform well enough to eclipse Gundam in the short term, but only in the short term. It's the difference between a sprinter and a distance runner. (It probably also helps a bit the occasional Macross series is usually a break from the formulaic tedium that Gundam has imposed on the genre as a whole.) WRT Bandai and Takatoku in #5... that's not even accurate. Bandai didn't acquire Takatoku Toys. Due to a combination of circumstances including the loss of licenses from Toei and having sponsored several TV anime properties that didn't do well, Takatoku Toys declared bankrupty in 1984. The company was dissolved during its bankruptcy proceedings and its remaining assets were divided up among its creditors. Their Macross license was profitable, but it wasn't enough to stem the bleeding from the loss of Toei's licenses and the underperformance or outright failure of its Sasuraiger, Dorvack, Orguss, and Galvion lines. At least one of the fabs they outsourced work to did end up being acquired by Bandai after it ended up in rough shape following the loss of Takatoku's contracts, but that's borderline unrelated.

... but those are two ways of saying the exact same thing, though. You just said "No, except yes". For a story to work, it has to have events proceeding towards a conclusion. A sense of direction. It may be a figurative, rather than literal, destination but the story has to be going somewhere in order to progress in any way. The Mandalorian's third season ties off almost every plot thread in Din's story. He's been redeemed in the eyes of his people, he's brought the Mandalorians together and back to Mandalore, he's defeated his people's nemesis for the last time. What's left for him to do that isn't just starting over?

Bartender: Glass of God is developing more or less in the direction I expected it to. It's one of those character dramas where the protagonist is less a character and more a walking plot device that, by some minor act, causes the episode's focus character(s) to have a complex emotional realization or breakthrough. In this case, all he really does is wait for an extremely vague drink order from troubled customer du jour and then serves up a hyperspecific cocktail tailored to their exact situation and then explaining its symbolic link to the situation. I'd hoped for more from this one, but eh...

Do they even dub songs anymore? I don't really do dubs anymore, but last I recall the practice of re-recording or outright replacing songs was largely abandoned by the mid-1990s because it was expensive and the distributors increasingly felt it was unnecessary for most audiences. The only distributor I recall doing it past that point was 4Kids.

Macross Chronicle Episode sheet for Macross 7 Ep18 "Falling Little Devil" offers the viewpoint that Gamlin took Milia's VF-1J into combat for two main reasons: To protect Mylene, who had led him to the hangar where it was stored because she was intending to do literally that same thing herself and he wasn't about to let her put herself in danger. To soothe his own battered ego, as he was feeling thoroughly depressed and useless after he and Cpt. Kinryu were shot down in the previous episode and his wingman and friend Physica was shot down and killed in the episode before that. It is fun that said Episode sheet has a section devoted to calling Gamlin unlucky and noting that going out to fight in a Valkyrie without a pilot suit was a stupidly risky move and that he could easily have died.

That is likely the case, yeah. Official publications for Macross Delta spare almost no thought for the VF-171s used by the Brisingr Alliance New UN Forces. The CG model used in the animation is the same one used for the basic (Block II) VF-171 Nightmare Plus that was the New UN Spacy's standard fighter in Macross Frontier, with the only changes being a new texture applied to the model that replaces the original blue colors with khaki and some minor changes to the exterior markings. Bandai's Mecha Colle model kit for the Macross Delta VF-171 identifies it as "general aircraft, frontier space specification" in Japanese and "standard model - rim world model" in English. The Macross Delta VF-171s are definitely not the EX model or a derivative of same as they lack the signature bubble canopy, downward-tilted nose, and EX-Gear of that special model. Based on the reuse of the CG model and its description as a "frontier space specification" of the standard model, it can be reasonably concluded that they're a locally-produced version of the same standard Block II VF-171 that was the main VF of the New UN Forces at the end of the 2050s in Macross Frontier.

Honestly, it's incredibly weird that the VF-1 is still being used as a training aircraft in the Macross Delta series. By 2067, the VF-1 is a 59-year-old platform and it's three to four generations behind the current model VFs that the military and PMCs are using. That should make it effectively useless as a training aircraft for combat pilots because its performance and technology are so far behind what the aircraft they would be flying in combat have. Xaos may have been using them for Hayate's training specifically because he was an unqualified pilot with minimal experience and crashing one of those is a heck of a lot cheaper than if he crashed a VF-31. It's probably not standard practice to use those for training. In 2059, the VF-1 is used as a training aircraft... but only in civilian flight schools like the Macross Frontier fleet's Mihoshi Academy where students are getting their basic pilot's licenses. SMS trains pilots directly on the aircraft they're going to be flying, and the New UN Spacy probably does the same assuming there are training versions of the VF-171. When we see Gamlin training in Macross 7 PLUS, The aircraft he's shown training on is a VF-11C Super Thunderbolt... the aircraft that was the standard military fighter used in the 37th fleet. Then once he joined the special forces, he moved to a VF-17D Nightmare. Odds are he never touched a VF-1 prior to borrowing Milia's.

I'd say The Mandalorian season three already did a pretty decent job of laying the groundwork there. They already had two or three episodes in there devoted to showing just how incredibly dysfunctional and doomed the New Republic already was just a few years after Return of the Jedi. They don't need to hammer that one home any further. It feels to me like they were already reaching pretty hard bringing Gideon back for a third go.

I know I'm terribly late to the party as I'm just finishing up season three... but really, what's left to tell story-wise for the movie?

True... though, if anything, that's a Reality Ensues moment. Gamlin was trained on the VF-11C Thunderbolt and VF-17D/S Nightmare. Both of those VFs are at least two generations newer than the VF-1 Valkyrie and have considerably higher performance. He hopped into a VF he'd never trained on, and discovered it had about 1/5th of the performance he was used to. Like someone whose daily driver is a Dodge Charger SRT Hellcat who finds himself driving a Toyota Prius while on holiday. You KNOW she's never gonna let that go. If Gamlin and Mylene ended up married, you KNOW she'd blackmail Gamlin with that every chance she gets.

The Banished Former Hero is, I think, the first title in my Spring 2024 simulcast lineup of 18 shows and counting that I'm ready to say isn't worth watching. It is, as I feared, pretty much a form letter "the overpowered protagonist is overly overpowered" type series that really doesn't seem interested in doing anything to develop its cast of characters or trying to take the formula in any new or different directions. A good 1/3 or so of the last episode is watching someone watch a blacksmith repeat the same dozen or so frames of animation as they beat on a sword on an anvil. They couldn't even be bothered to animate the sword being worked on, so said character is beating on what looks to be a completely finished sword that's only hot in one small spot. I started I Was Reincarnated as the 7th Prince so I Can Take My Time Perfecting My Magical Ability and... well... it's basically more of same. Apart from the first 90 seconds or so where the protagonist is revealed to be a commoner who was executed for some nonspecific crime, it's basically been a one-joke series where everyone overreacts to how overpowered the reincarnated-as-a-kid protagonist is. I'll stick with it a bit to see if it develops at all, but right now it's one note. Re:Monster found a way to make its previous dalliance with the... ... worse. The latest episode has a mass suicide in it for seemingly no reason other than so the protagonist can show that he's less evil than the adult hobgoblins by refusing to allow them to abuse a new batch of captives they brought home. Other than that, this episode is basically just more of him hunting monsters and eating them to gain new RPG skills. It's definitely not what I'd call a riveting viewing experience. It's about as entertaining as watching actual riveting, to be honest. I'm starting Vampire Dormitory, which recently joined the simulcast schedule. This one is also unhelpfully starting with an attempted suicide, albeit a mercifully unsuccessful attempt that doesn't result in any physical harm because... Gotta hand it to 'em, they are not messing about when it comes to getting right to the premise. They promised vampires and dormitories, and they've already delivered vampires within the first 90 seconds. I just hope the dormitory doesn't arrive by similar means, or someone's going to find out how the Witch Witch of the East felt after Dorothy's house fell on her. I think the premise might need a bit more thought, as it basically amounts to: I know that's probably not what the author was thinking, but that's what it basically boils down to... and that realization makes the whole bit that follows intensely weird and slightly off-putting. I'm also starting As a Reincarnated Aristocrat, I'll Use My Appraisal Skill to Rise in the World. The title doesn't really leave much to the imagination, about the genre or the premise... but let's cross our fingers and hope for the best. It's a genuine isekai this time. The protagonist is an unremarkable salaryman who died of a heart attack in his apartment's doorway only to discover he'd been reborn in a fantasy world. The premise is pretty much exactly the entire synopsis... with the first episode being just an introduction to his standard JRPG appraisal skill and him using it to help a boy from outside the country land a job as a soldier after detecting his incredible skills. It's actually not bad. Especially once it unexpectedly decided to tackle the subject of racial discrimination.

We have a bit more than that... we have things like normal operating mass, main engine thrust, number of verniers, and some statements about generator output. But yeah, there's not a ton of fodder for like-for-like comparison.

Macross II: Lovers Again isn't non-canonical, it (and at least its two prequels) are an official "parallel world" (alternate universe) timeline since 1994. That said, the technological development of the Macross II "parallel world" timeline is rather different to what was later defined in Macross Plus and later titles. The pace of new model development is more consistent across the whole timeline, and therefore slower than the early portions of the ongoing Macross timeline. There's also more emphasis on Humanity reverse-engineering and applying lessons learned from the study of Zentran and Meltran overtechnology. The Valkyrie II series VFs - the VF-XX, VF-2, VF-2SS, and VF-2JA - were developed in the Macross II timeline's late 2050s and 2060s based on new overtechnology captured from an unnamed Zentradi Main Fleet that attacked the emigrant ship Million Star and then the Sol system in 2054. All of the Valkyrie II series VFs apply lessons learned from the study of Zentradi battle suits. The refinements adopted into the next-gen VFs included substantial improvements to armor and structural materials, to actuators, and to the thermonuclear reactors and generators that provide thrust and power. These improvements were first tested on the VF-XX Zentradi Valkyrie in 2060. They were then adopted by the VF-2 series that entered production in 2072 and further improvements were made for the VF-2SS in 2082 and the VF-2JA in 2086. The main metric most fans look at for comparing VFs is usually engine power or thrust-to-weight ratio. In those terms, the VF-2SS and VF-2JA are about comparable to the main (ongoing) Macross timeline's 3rd Generation VFs like the VF-11. The VF-2SS is said to have approximately 3x the engine power and generator output of the VF-1, which given the operational mass puts their thrust-to-weight ratio between 6.43 and 8.67, or a bit more than the VF-11 to a bit less than the VF-17D respectively. Mind you, thrust-to-weight ratios approaching 10 are more or less the limit to what a Human pilot can actually take unassisted. Gamlin was shown to struggle a bit to draw out the full potential of his VF-17D/S, which is 9 or 10 depending on model, and the 4th Gen VF-19 and VF-22 are noted to have had very few eligible pilots because they were beyond even 10. The 5th Gen VFs are over 30, which gives them incredible acceleration and maneuverability performance that they can only achieve because they have a means to cheat those excessive g-forces away using inertia capacitors. The two areas where the Macross II VFs are seemingly more advanced than their main timeline counterparts are in the adoption of AI wingmen and railguns. From a late 2030's update to the VF-4, Macross II VFs were using funnels and bits (yes, like Gundam, but computer controlled) as autonomous wingmen to protect and improve the firepower of VFs. The VF-2SS notably deploys with five bit wingmen that provide fire support and defense. They also make extensive use of railguns for gunpods and larger cannons. In the main timeline, railguns are still a relatively new feature for VFs as of the 5th Gen and the ones we've seen aren't true railguns so much as railgun-assisted conventional cannons which employ both a chemical propellant and a linear accelerator.

Since I don't watch dubs, it didn't occur to me until I saw Big s's post... Zethus is probably referring to the way Netflix picked up the Neon Genesis Evangelion license years after it was abandoned following the collapse od ADV Films, and/or the new translation and dub they produced for it that fan consensus seems to hold is vastly inferior to the one done under ADV Films. So I guess the answer in the first part would be yes... it's similar to how Netflix picked up the Evangelion license. In the second part, not so much. It's already been confirmed that Macross II, at the very least, is going to be released with its original English dub in addition to subtitled Japanese, and presumably that'll be what Disney+ uses as well. It wouldn't make sense to do a clean translation of the OVA for the home video release and have the streaming service do a different clean translation at the same time.