So I love Macross as a whole but when I compare Macross Plus with the overall Macross Franchise, it is both very much Macross and very much not Macross at the same time. It’s got the basics but it executes them in a very different way and I feel this is because of the involvement of Keiko Nobumoto and Shinichiro Watanabe who brought in a very different style of storytelling, while still sticking to the base motifs of Macross, that was also seen later in Cowboy Bebop and some of Watanabe’s other works.
I can’t comment much on the newer Macross stuff simply because I haven’t seen a lot of it but legacy Macross is what I fell in love with…like everything up to Macross 7 so I am comparing this to that plus some reading I did on the newer instalments. Macross Zero recently caught my attention and seemed very promising so that’s a pending watch.
Why I love the Macross Franchise
It’s really quite simple-the storytelling is great considering the context. It manages to touch upon deep themes, has a strong focus on human relationships, and doesn’t take itself all that seriously. Sample the below for instance-one of my favourite sequences in the entire franchise. These are two Zentradi, a race which segregates males and females, displaying a kiss to their hostages ironically in order to make fun of human “culture.” It goes on a while and Lap’Lamiz, the lady involved, is clearly annoyed when it ends commenting on how the “culture” was just getting good. This is during a pretty serious sequence in the show by the way. Doesn’t take its own super-scary villains seriously. Total goofball moment.
Macross will generally involve long multi-episodic storylines which may get extended into OVAs with generally some sort of ongoing conflict with aliens or some external enemy, a love triangle of some sort, and the use of music as a weapon, sometimes to evoke the humanity in the opponent, other times to use as a force or energy of some sort. It’s been a while since I watched Macross in full and I do have real life commitments which don’t leave me time to revisit things like this as often as I would like to so I am writing about everything beyond Plus from memory. If I make any factual errors or deviations, please feel free to highlight.
Why I call Macross Plus the “masterpiece but almost-fake Macross”
Like I mentioned at the beginning, it takes the same raw materials but executes them very differently and in very signature Watanabe/Nobumoto styles.
A Story of the Human Experience / Absence of External Villains
Watanabe/Nobumoto stories generally tend to be ones of human conflict rather than a “them versus us” scenario. Spike Spiegel is ultimately struggling against the fallouts of the relationship with his best friend gone wrong. The Bebop crew may go up against a cult in one session or try to catch a drug peddler but they will ultimately end up being stories of people and their lives. Despite being set in space, Bebop does not have space invaders or alien armies. Similarly, Jin, Foo, and Mugen in Samurai Champloo do not have some ultimate “dark lord” they are fighting but their own pasts and, despite the theme of samurai, the show is more about their own emotional journey and learnings. I could go on.
The Macross franchise always involves external villains, largely space alien warriors, but Macross Plus has a very obvious lack of anything of the sort. In fact, peace with the villains who were being fought in its predecessor is actually called out in it and one of our protagonists is part-Zentradi thus eliminating even the legacy motif of villains and telling a story from a fresh slate. Macross Plus is simply a story of the emotional journeys of its main characters dealing with their own pasts and their mutual relationships gone wrong even as they go about their everyday lives which also happen to feature transforming fighter crafts.
There is something of a villain in the form of Sharon Apple but she is again very much not an external villain. Just like the cult leader Londes in Bebop’s episode of ‘Brain Scratch’ who is just a manifestation of the dreams-gone-wrong of a hacker in a coma or the satellite MPU in ‘Jamming with Edward’ which begins to draw patterns on earth because it got lonely, Sharon spiralling out of controls is also a manifestation of human actions and emotions gone wrong. She is not someone who comes in from outside and attacks our heroes but a fallout of Myung’s devastated state of mind caused by the conflicts in her relationships with two men who meant a lot to her.
There are many other very poignant themes also touched on like the fallouts of misplace egos, consent, man-machine interface etc. which again make Macross Plus much more of a “human experience” story than other parts of the franchise.
The Love Triangle
In typical Macross the love triangle will run alongside the overall story but in Macross Plus it is very much the story. Like I mentioned above, since it is more focused on the interpersonal journeys of its protagonists everything in it ties back to it. Isamu and Guld’s conflict is driven very much by one incident involving the same woman and that is called out again and again as they get into unnecessary fights when their focus should be on the crafts they are test pilots for.
There is also the added layer of their own former friendship with each other that often trumps even whatever they may feel for Myung. The end of the series with Guld’s realisation and the boys patching up is actually the major conflict-resolution post which everything else falls in place as well. Even the scenarios of AI going wrong are built into the love triangle with Sharon’s spiral mirroring Myung’s own suppressed feelings for Isamu. I’m not saying that the love triangle is everything (I mean Marge did solid work to fuck up things too) but it is way more centre-stage here than it would be in other instalments of the franchise. It is also very reminiscent of the later love triangle of Spike-Vicious-Julia from Cowboy Bebop which essentially drove that story but I’ll write more on that when I compare the two series.
The Power of Music
This is again a very key Macross motif where music may be presented as this ultimate weapon capable of magically disarming scary villains. Going again with the subtle and much more mature style of storytelling signature to Watanabe/Nobumoto, the role of music here changes completely. Music becomes a symbol for Myung’s loss of her own self since she gives up singing after what happens with Guld and Isamu. This in turn causes music to become a weapon but not for eliminating villains but rather a weapon against humanity with Sharon spiralling out of control. It is finally restored to its original Macross motif as a defender of humanity when Myung sings ‘Voices’ to Isamu causing him to snap out of the trance Sharon has placed her in.
Ultimately, this entire arc seems to me a representation of a very key theme in Macross Plus which is man-machine interface regarding which the general stance of the series seems to be that technology replacing humans completely is a dangerous path to take. Human involvement needs to be balanced with technological advancement so we are not reduced to mere toys in the hands of a machine incapable of judging right from wrong or replicating human actions and emotions without the sentient capacity to actually understand them. The same music in Sharon’s hands becomes a weapon as she thinks she is acting out of love for Isamu, an emotion she cannot really understand as a machine, while coming from Myung it is a healer since it comes from a space of true love for Isamu which she as a human is actually capable of feeling.
Other articles in the series
- Introduction: The Macross Plus Series
- Macross Plus OVA vs. Movie: Introduction
- Macross Plus OVA vs. Movie: Part 1
- Macross Plus OVA vs. Movie: Part 2
- Macross Plus OVA vs. Movie: Part 3
- Macross Plus OVA vs. Movie: Part 4
- Macross Plus OVA vs. Movie: Reflections
- Macross Plus: Key Themes
- Macross Plus: Characters and Relationships
- Macross Plus vs. Macross Franchise
- Macross Plus: Creators and Legacy