{"product_id":"mobile-suit-gundam-iii-encounters-in-space-機動戦士ガンダムiii-めぐりあい宇宙編-original-release-japanese-b1-poster-1982-rare-b1-poster-size-c-72-8-cm-103-cm-ha1-copy","title":"“Mobile Suit Gundam III: Encounters in Space” (機動戦士ガンダムIII めぐりあい宇宙編), Rare Original Japanese First-Release Theatrical Promotional Poster 1982, “Very Last Shooting \/ New-Type” Design, B1 Landscape Size (c. 103 × 72.8 cm) JA30","description":"\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B1 theatrical promotional poster produced for the first release of\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eMobile Suit Gundam III: Encounters in Space\u003c\/strong\u003e\u003c\/em\u003e (\u003cstrong\u003e機動戦士ガンダムIII めぐりあい宇宙編\u003c\/strong\u003e) in \u003cstrong\u003e1982\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film opened theatrically in Japan on \u003cstrong\u003e13 March 1982\u003c\/strong\u003e, distributed by \u003cstrong\u003eShochiku\u003c\/strong\u003e, and completed the celebrated three-film theatrical condensation of the original \u003cem\u003eMobile Suit Gundam\u003c\/em\u003e television series. It was directed by \u003cstrong\u003eYoshiyuki Tomino\u003c\/strong\u003e, with \u003cstrong\u003eYoshikazu Yasuhiko\u003c\/strong\u003e serving as character designer and animation director, \u003cstrong\u003eKunio Okawara\u003c\/strong\u003e responsible for mechanical design, and \u003cstrong\u003eMitsuki Nakamura\u003c\/strong\u003e as art director. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIssued in the imposing \u003cstrong\u003eJapanese B1 format\u003c\/strong\u003e, approximately \u003cstrong\u003e103 × 72.8 cm in landscape orientation\u003c\/strong\u003e, this is substantially larger than the standard Japanese B2 and presents one of the most atmospheric promotional images associated with the original theatrical Gundam trilogy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe extraordinary English headline running across the upper edge gives this particular design its identity:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Gundam. Very Last Shooting! Have you survived and found yourself ‘New-Type’?”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMore than four decades later, the poster remains an exceptionally evocative artefact from the moment \u003cem\u003eGundam\u003c\/em\u003e was transforming from a cult television series into one of Japan’s defining science-fiction franchises.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003e\u003cstrong\u003eMobile Suit Gundam III: Encounters in Space\u003c\/strong\u003e\u003c\/em\u003e is the concluding chapter of the theatrical trilogy assembled from the original \u003cstrong\u003e1979–80 television series\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film covers the final phase of the \u003cstrong\u003eOne Year War\u003c\/strong\u003e, following the crew of the White Base as the conflict between the \u003cstrong\u003eEarth Federation and Principality of Zeon\u003c\/strong\u003e moves decisively into space.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt its centre is \u003cstrong\u003eAmuro Ray\u003c\/strong\u003e, whose abilities as a pilot continue to develop alongside his awakening as a \u003cstrong\u003eNewtype\u003c\/strong\u003e—the series’ concept of a new stage of human consciousness emerging among people born and raised in space.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe final film places particular emphasis on Amuro’s encounters with \u003cstrong\u003eLalah Sune\u003c\/strong\u003e, his increasingly complex relationship with \u003cstrong\u003eChar Aznable\u003c\/strong\u003e, and the philosophical implications of Newtype perception.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than functioning merely as a compilation, the theatrical trilogy incorporated substantial new animation and restructuring, and the third film is especially closely associated with the definitive visual form of early \u003cem\u003eGundam\u003c\/em\u003e. Sunrise describes it as the concluding theatrical chapter, substantially reorganised from the television material and focused strongly on the emergence of the Newtype concept. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster abandons character portraits almost entirely and instead creates an expansive \u003cstrong\u003edeep-space battle tableau\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAgainst a vast black star field, the \u003cstrong\u003eRX-78-2 Gundam\u003c\/strong\u003e advances towards the viewer, rifle in hand and shield raised, illuminated by subtle white, blue and red highlights.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Gundam is deliberately not oversized within the composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInstead, it occupies the upper centre of a much larger cosmic battlefield, surrounded by distant mobile suits, ships, stars and planetary forms. The scale gives the image an unusual sense of loneliness and distance—perfectly suited to the final stage of the One Year War.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTo the left, an enormous dark \u003cstrong\u003espace fortress \/ asteroid structure\u003c\/strong\u003e pushes into the composition, its blue-edged surface almost disappearing into the surrounding blackness.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the middle distance are multiple Zeon and Federation machines, rendered at dramatically different scales to create a genuine sense of depth.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than presenting a single duel, the image suggests \u003cstrong\u003ean entire war unfolding in three-dimensional space\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe “Very Last Shooting” campaign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the top appears the remarkable English line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Gundam. Very Last Shooting! Have you survived and found yourself ‘New-Type’?”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe wording is pure early-1980s Japanese science-fiction advertising: slightly unconventional English, but extraordinarily memorable.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe phrase \u003cstrong\u003e“Very Last Shooting”\u003c\/strong\u003e directly evokes the climactic imagery now inseparable from the end of the original \u003cem\u003eMobile Suit Gundam\u003c\/em\u003e story—the final battle and the legendary image of the damaged RX-78-2 firing upward during the confrontation at \u003cstrong\u003eA Baoa Qu\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe second half:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Have you survived and found yourself ‘New-Type’?”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003etakes the campaign beyond conventional action-film advertising.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than merely asking whether the audience has witnessed the final battle, it asks whether they themselves have undergone the conceptual transformation at the heart of the series.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat makes the poster as much about \u003cstrong\u003ethe philosophy of Gundam\u003c\/strong\u003e as its machinery.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eNewtypes and the final film\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe idea of the \u003cstrong\u003eNewtype\u003c\/strong\u003e is crucial to \u003cem\u003eEncounters in Space\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIn Tomino’s universe, humanity’s migration into space has begun to produce individuals capable of unusually heightened perception, intuition and empathy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor Amuro, that evolution grants extraordinary combat awareness but also forces him into profound emotional contact with his enemies.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe tragedy of the final chapters lies in the contradiction between that potential for deeper human understanding and the continuing machinery of war surrounding it.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster captures that contradiction beautifully.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe machines are spectacular, but they are tiny against the universe.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe battle is enormous, yet the headline asks a fundamentally human question:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eHave you found yourself New-Type?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eOriginal Gundam creative team\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film represents the work of the key creators responsible for establishing the visual language of the original Gundam era.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eYoshiyuki Tomino\u003c\/strong\u003e served as director and co-creator.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eYoshikazu Yasuhiko\u003c\/strong\u003e provided the character designs and served as animation director.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eKunio Okawara\u003c\/strong\u003e, one of the defining figures in Japanese mechanical design, created the series’ mobile-suit designs.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eMitsuki Nakamura\u003c\/strong\u003e served as art director. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat combination is fundamental to the enduring appeal of early \u003cem\u003eGundam\u003c\/em\u003e: machines designed with a convincing military logic exist within an emotionally expressive animated world rather than functioning simply as superhero robots.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGraphic restraint\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUnlike many anime promotional posters of the period, this design is notably restrained.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is \u003cstrong\u003eno large billing block, no crowded cast montage and almost no Japanese promotional copy\u003c\/strong\u003e across the principal image.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe artwork itself occupies nearly the entire B1 sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt lower right appears the compact red title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e機動戦士ガンダムIII\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ewith the turquoise subtitle:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eめぐりあい宇宙\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe latter is conventionally read \u003cstrong\u003e“Meguriai Sora”\u003c\/strong\u003e, while the established English title is \u003cem\u003e\u003cstrong\u003eEncounters in Space\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe compact title treatment allows the immense black star field to remain uninterrupted, giving the poster a cinematic breadth that is particularly impressive in the \u003cstrong\u003elarge landscape B1 format\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe B1 format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese \u003cstrong\u003eB1 measures approximately 72.8 × 103 cm\u003c\/strong\u003e, roughly twice the printed surface area of the more commonly encountered B2 format.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eLandscape B1 promotional sheets are especially dramatic because their width approaches \u003cstrong\u003eone metre\u003c\/strong\u003e, allowing panoramic artwork such as this to function almost like a small cinema billboard.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor this design, the additional scale is crucial.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe dense star field, tiny distant spacecraft and enormous black negative spaces lose much of their effect when reduced. At B1 size, the image becomes genuinely immersive, with the viewer’s eye moving from the Gundam to the scattered mobile suits, fortress structures and distant planets.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOriginal large-format material associated with the \u003cstrong\u003e1982 first theatrical campaign\u003c\/strong\u003e is considerably less frequently encountered than standard later Gundam merchandise, making this an important period piece for collectors of the original Universal Century era.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCultural significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen the original \u003cem\u003eMobile Suit Gundam\u003c\/em\u003e television series first aired in 1979, its initial ratings did not immediately reflect the enormous cultural phenomenon it would become.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts reputation grew rapidly through reruns, model kits and an increasingly committed fan base, ultimately leading to the theatrical trilogy released between \u003cstrong\u003e1981 and 1982\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy the time \u003cem\u003e\u003cstrong\u003eEncounters in Space\u003c\/strong\u003e\u003c\/em\u003e arrived, Gundam had moved decisively beyond its television origins.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe trilogy helped establish the franchise’s mature reputation and solidified ideas—the \u003cstrong\u003eRX-78-2, Char, Amuro, Newtypes, the One Year War and the conflict between Federation and Zeon\u003c\/strong\u003e—that remain central to Gundam more than four decades later.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis poster comes directly from that formative moment.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt predates the decades of sequels, alternate universes, games and merchandising that followed and belongs to the \u003cstrong\u003eoriginal theatrical Gundam era\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExcellent original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains an exceptionally \u003cstrong\u003edeep black star field\u003c\/strong\u003e, with excellent colour and contrast throughout the RX-78-2 Gundam, mobile suits, planets and surrounding space imagery.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pale blue English headline remains crisp and highly legible, while the \u003cstrong\u003ered and turquoise Japanese title treatment\u003c\/strong\u003e at lower right retains strong saturation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe dark background is particularly unforgiving of wear, yet the principal image remains remarkably strong.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is \u003cstrong\u003elight age-related handling and some minor edge and corner wear\u003c\/strong\u003e, together with a few small surface impressions and subtle scuffs visible under close inspection, principally around the margins and within the black field. There are \u003cstrong\u003eno prominent fold lines or major defects affecting the central artwork\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse is notably clean, showing only light natural handling and paper character consistent with an original large-format poster from \u003cstrong\u003e1982\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster for sale, front and reverse\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B1 theatrical promotional poster from the film’s first-release campaign in 1982\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or modern reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is approximately \u003cstrong\u003e44 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57279814500730,"sku":null,"price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-looking-at-an-art-gallery-wall_3_208408a0-3c1a-40cc-b26e-5df20616145a.jpg?v=1789687851","url":"https:\/\/japanposter.co.uk\/products\/mobile-suit-gundam-iii-encounters-in-space-%e6%a9%9f%e5%8b%95%e6%88%a6%e5%a3%ab%e3%82%ac%e3%83%b3%e3%83%80%e3%83%a0iii-%e3%82%81%e3%81%90%e3%82%8a%e3%81%82%e3%81%84%e5%ae%87%e5%ae%99%e7%b7%a8-original-release-japanese-b1-poster-1982-rare-b1-poster-size-c-72-8-cm-103-cm-ha1-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}