Macross Plus: The Masterpiece Almost-fake Macross

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.

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Macross Plus OVA vs. Movie: Part 2

Heavy Spoilers: Second part of comparing the Macros Plus OVA vs. the Movie

The movie jumps directly post this to Isamu getting scolded by Millard and getting banned from flying for three days followed by his and Lucy’s date while the OVA goes post the introduction to a sequence with Isamu researching the fighter craft and a simulation training which he does badly in making Yang yell at him for not taking things seriously. Both narratives converge at the date sequence which is just Isamu driving rashly and catching a note of Sharon’s song which reminds him of Myung.

The next scene is in the cafeteria where Guld’s colleagues are joking about Isamu being pulled up and their chances of winning being good. In the movie, they are happy Isamu has been banned for 3 days while in the OVA it’s more about just him screwing up. In both, Guld warns his colleagues to not underestimate him. This is a very powerful scene because while both have just been shown fighting each other passionately in both versions, this scene is Guld’s quiet acceptance of his past association and familiarity with Isamu. It’s a very private moment of him delving back into a time when things were better between them.

Myung’s press conference is running in the background of this sequence in both versions and Guld becomes aware of it, realising Myung is there in the city and managing Sharon. The conference is played out similarly in both versions with a reporter raising concerns on a computer-generated voice being emotionless and Raymond defending it claiming Sharon’s feelings will be hurt by the claim.

The OVA then proceeds with the scene of Myung and Sharon showing up to the crowd which is shown at the beginning of the movie followed by shots of Sharon’s concert being set up and the scene with Myung supervising Sharon’s adjustment. Marge shows up but just to inform Myung her taxi is here with no warning on the media. She departs and goes to Star Hill followed by a sequence of Isamu and Lucy flirting with each other while on their date.

The movie on the other hand skips to a sequence which does not happen in the OVA between Raymond and Myung where he asks if she would prefer to sing in place of Sharon and she informs him her singing days are over. She talks to him about how Sharon has won so many hearts mentioning that she will be out of work if Sharon does become complete but she is happy as long as fans are happy. Raymond wonders why Sharon doesn’t awaken even though her system is complete which Myung attributes to her own emotions perhaps not being strong enough. Raymond also seems to have a romantic interest in Myung which she sort of pretends to ignore and divert by focusing on a fake flower in his vase.

There are three key themes of the series addressed in this one scene. One is a woman’s consent and unwanted romantic attention, the second is a human-dependent machine’s efficacy being as good as the person it relies on to run (Sharon functioning inadequately since Myung’s emotions are lacking and Guld’s craft not performing optimally due to his own tripping up at the hands of his Zentradi blood), and third is the redundancy of a human at the hands of a machine. Makes it a rather important scene and hence I feel it adds value to the movie. I also find it interesting that Raymond mentions Sharon’s AI is complete in this scene while in the OVA it is clearly mentioned it is incomplete and hence there is a need to rely on Myung. Since both versions do feature the microchip later, I get confused if the intention is to show Sharon’s AI in different states in each.

Both versions again converge at Star Hill for Guld and Myung’s meeting followed by Isamu and Lycy showing up which is played out in the same way so I won’t go into it much. Notable here is Myung’s attempt to appear as if all is ok and Guld realizing nothing is alright and offering to help her which makes for a very powerful sequence during a rewatch. I am always struck by how much reconstruction Myung has done for herself after being abused by one friend and abandoned by the other. Guld informs Isamu he will get neither Myung nor the project, almost reducing her to the status of a commodity while Isamu claims he is only interested in the project. Myung stays caught between the egos of these two men, another major theme in the series.

There is one change here which is in the dialogue when Guld first accosts Isamu. Since the first dialogue of Guld calling Isamu a traitor didn’t happen in the movie, it was changed. This dialogue is actually quite significant since it foreshadows the understanding the audience later get of Guld believing Isamu to have assaulted Myung when actually it was him.

The next sequences in the movie is a fairly benign mashup of the two YFs being test piloted by Isamu and Guld which are actually clips from much more dramatic sequences in the OVA. This is shown as a montage sequence occurring over some time interspersed by Myung being immersed into the AI in preparation of the concert.

This is followed by the scene of Guld looking up Isamu’s records and his Zentradi blood acting up which was shown earlier in the OVA but it’s interspersed with scenes of his memory of Myung’s assault which he believes was done by Isamu. In the OVA the trigger for his Zentradi blood seems simply to be his rivalry and hatred for Isamu while in the movie it’s specifically shown to be triggered by this sequence again enunciating slightly different motifs.

On the other hand, the OVA takes a very different approach depicting Isamu and Guld’s first test flight together where Guld is easily able to outshine Isamu initially. He is more focused on the task at hand in this sequence than Isamu who is lagging and trying very hard to match up to Guld out of rivalry. However, Guld loses control of the YF-21 as there is disruption in his brainwave connect and he flashes back to the scene of seeing Isamu with Myung right after the assault. He is angry since under the impression Isamu was the culprit.

He goes into free fall as a result and Isamu rescues him finally on Millard’s orders. However, just as they land safely Guld imagines a scenario where he causes Isamu to have an accident and his craft responds by manifesting it. Isamu is livid, accusing Guld of having done it on purpose. The other man mocks him but also apologises stating it was an accident. This is again a pretty critical scene going back to the motifs of fragile masculinity and ego clashes between two men. Guld takes a step back in this case and apologizes.

Guld flies the YF-21 and the sequence is followed by Myung supervising Sharon Apple’s programming where Marge shows up to warn her that reporters are catching on to there being a flaw in Sharon’s software so she should be careful during the press conference.

I won’t do a separate observation bit here. Rather, I’ll post the third and fourth parts and then do a combined observation bit.

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Kotaro Lives Alone: Trauma and Stories

Trigger Warning: Whatever I write on this show now will be based on my own experiences with children from abusive backgrounds or some other personal experiences and what I found resonating with those in the series Kotaro Lives Alone so please skip this if those themes may be triggering. Also, heavy spoilers.

Disclaimer: I’m not a psychologist or a psychiatrist but I’ve done things which put me around kids like this for a while. When I watched this series, I found a lot of it hit home with that. Also, resonance from years of experience with a very, very close friend who had a similar journey through childhood abuse and neglect. There were some things from personal experiences too, especially what is covered in this particular article. I’ll write from that mixed informal lens and nothing else so if you read, please do it with that disclaimer in mind. That’s why I’m not even referencing any formal papers or books on this topic because you can google them. This is just experience-sharing in case anyone is interested in it.

Why the depiction of abuse and trauma feels unique in Kotaro Lives Alone

While childhood trauma may be mentioned liberally in heroic action anime to provide compelling character backstories, rarely does something sit down with it in such a simple setting and actually look at how it may play out in the lives of everyday individuals. I’ve not seen it done like this in anime at-least. It was cathartic for me to watch and my friend with the history of abuse had the same experience watching it. We both felt that the biggest reason behind our feeling this way was probably the fact that most often child abuse goes unacknowledged or a victim may be so gaslit they refuse to admit to themselves what they experienced was in fact abuse so watching media which goes into it like this, acknowledging it from all subtle lenses, showing “normal people” coping with it, can be both relatable and validating for someone who has experienced it whether first-hand or indirectly.

This show also made a space with me because it reminded me of two different personal pieces I wrote here sometime back. One was Stories of Significance on how sometimes a work of fiction can help you find something to relate to when there is nothing left in your own life and reality to anchor you. The other was Kindness of Strangers, basically found families who support you when you need it most, so I decided to also build in some of those themes as I write. This one is of course, around the stories as a coping mechanism bit which is tied in with my own similar experience. I will do one or two more on my wider experiences through others as I find headspace for them since these are dense to write.

Story of Significance: Kotaro and Tonosaman

In my watch of the first episode, due to Kotaro talking about enemies and battle, I was wondering if this was going to be a sci fi or fantasy show where Kotaro would turn out to be an alien or some mystical creature who had battled demons in some faraway world. But as I watched a much sadder reality emerged of the demons Kotao is fighting being those of his own life, basically neglect and emotional abuse at the hands of his own parents.

In the first episode, Kotaro shows up to Shin’s house to watch his favourite show Tonosaman claiming his television will be delivered the next day but we see in a later shot that he already has a TV. This spills over into the next episode as well where he shows up again and Shin notes the show is terrible. However, Kotaro repeats each dialogue said by Tonosaman and seems to have picked up all his formal mannerisms, style of speaking, and identification as a feudal lord from there. Kotaro eventually admits to Shin that he knows the story is not great and he doesn’t watch it because he likes the character. There’s a child his own age throwing a tantrum in front of them whom he goes and counsels, commenting later to Shin that this child will be fine because he will not need to seek guidance from a TV show in the middle of the night and that’s when you finally realise why he has picked up his entire personality from Tonosaman.

However, in the next scene he also tries to brush away his dependence on the show by claiming to Shin that he has grown into an exceptional adult and therefore does not need guidance from a show any longer. He does but him admitting his dependence on Tonosaman to Shin is a vulnerable moment of weakness for him. This is a child for whom such moments have probably not been a reality, for whom being vulnerable or weak may have meant the difference between surviving and not surviving, and hence he immediately feels the need to disown his dependence and hide himself away again. We are also shown a very poignant sequence where Kotaro sits with a board “selling” his Tonosaman impression to people but paying 10 Yen each to them instead, only to the ones who smiled, since their smiles remind him of his mother (who otherwise was revulsed by him to the point that she used gloves to touch him) smiling at the same act of his.

This is when it begins to solidify as the story of a boy who has adopted the persona of a superhero to fight his own reality. We are later shown that his mother could not stand to be around him and was neglectful while his father likely went down a wrong path and also had anger issues. With adults like this who are unable to give him the care and protection he requires, he builds Tonosaman as the role model he never had, a character who is seen again and again protecting a child in trouble. However, Kotaro does not identify with the child but rather models himself on the individual strong enough to fight the child’s battles for him, essentially trying to become his own guardian, parent, and protector in the absence of one in his life. He also uses the story to cope with the absence of his parents, pretending they are ninjas and using that cover to convince his classmates why they don’t live with him or do not show up for any of his school events. Having nothing else to relate to, he latches on to this one very terrible story because it shows the things which resonate with his reality.

What I was writing about in Stories of Significance was exactly this. The story I wrote about there is world-renowned and a fan-favourite but honestly when I look at it, it’s not even my favourite anime and I do not look up to its characters even one tiny bit. They are not people you are supposed to aspire to be. But it was significant to me when I first saw it as a teen because I needed something like that to be able to relate to at that point. These were people who found themselves in circumstances they did not want to be in and had not planned to be in. It’s the course their life took and the actions of people who did not hold up their end of the bargain brought them all into the highly destructive and sad circumstances they were in.

Given my particular circumstances, I could find resonance with them. They felt like my friends. I could not relate to anyone else at-all, people my age or within my circle of existence, at that time because their lives were so different from mine right then. But this messed up crew of misfits felt like a space of belonging which temporarily coasted me through till I could find other anchors. I did not grow up to be an adult like them, quite the opposite rather, but for that moment in time they helped me find a sense of belonging. For Kotaro also this story is a temporary solace which, as he finds people in his life who genuinely care about him, he may eventually abandon it but it helped him get through the worst parts of his life and that’s why it is significant.

Quick Note: I also want to call out here that humans have used stories as entertainment and forms of escapism for a long time. Could be in the form of a series, movies, video games, role play whatever. These are always great to indulge in as long as you don’t take it too far and begin to identify as or model your life on fictional characters. What’s written here is specifically from the context of using stories to deal with trauma temporarily and then moving on from them. I do not condone unhealthy obsession with fictional characters.

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Revisiting Makoto Shinkai’s 5 Centimetres per Second

Spoilers Avoided: I wrote something on Twitter about how 5 Centimetres per Second is one of those movies you get something new out of each time you come back to rewatch it just a bit older and it’s true. The first time I watched it was in my teens when it just came out and I loved it. The second time I watched it, I found it too painful. Third time watching it now, I get it. My “revisit” this time around happened because I randomly downloaded it to watch on a flight yesterday and then of course I had to pen down all the thoughts on its symbolisms and why I feel it’s so good.

5 Centimetres per Second is a set of three “short stories” from different times in the same male protagonist’s life and mostly revolves around his relationships with the girls who come into his life. In fact, we rarely see other characters except the ones who are in focus at the moment. He ages over the course of the story and each of the experiences shape him as a person but ultimately even they are not the prime shapers. He is shaped at the end by the very act of growing up. Nothing much happens in the movie but it is a very realistic depiction of the lives of most young people where over the course of time priorities change, things which once meant everything fall to the side of the road only for their importance to be realised much later when it’s too late to go back to them. We set off doing one thing to get to an end goal and then sometimes get so engrossed in the means that we forget or lose out on the end.

5 Centimetres per second is the speed at which a Sakura petal falls. Speed and movement are the themes of the story. Characters are always traveling, sometimes similarly, sometimes differently. Motion is as much a character in the story as any others, geographical, emotional, intellectual. Characters keep playing catch-up with each other, ending up being subjected to things they knowingly or unknowingly subjected another person to as lives criss-cross. People mature at different paces, paths diverge, and collide again. How far an individual has traveled in their life over the same period of time versus another (distance/time=speed right?) is a reflection of who they were as an individual all along. This theme of pace and motion comes at a head in a very unexpected ending which goes back and gives you a new perspective to what you saw, a story which in the first watch you are likely to think will end very differently than how it does.

The manner of storytelling in 5 Centimetres per Second always feels very metaphorical to me since it begins as quite descriptive, taking time to build the backstory of the first two characters in detail and then begins to abandon the viewer, getting increasingly omissive till the end where the most important events and progressions which have occurred are not even told.

It feels like a parallel to the process of growing up itself, how the lives of most children start off, sheltered in homes, everything making sense, innocence being very much an attainable reality. Then life kicks in and as you grow up things begin to make less and less sense, or maybe you have less time to make sense of everything coming your way, memories begin to fade or morph, but you keep going, innocence is often a luxury, passions begin to seem pointless, relationships make you jaded and feel unreal rather than the happily-ever-after they once seemed. When you are a child you have more time to register things as they happen but as an adult time often seems to move faster. It feels like you blinked and suddenly you’re grown, having played chase with the life you think you wanted, wondering where they time went and how you ended up where you are now. It’s very much a story of growing up, very much representative of real life where there may not be very satisfactory resolutions or even closure at-all, no grand schemes or purposes may be revealed to individual lives, but we don’t exactly have a choice other than accepting it all as it is given.

Watch it if you enjoy slice of life stories of people growing and changing, learning and also being very stupid like people always are. Watch it also for the absolutely breathtaking imagery and Makoto Shinkai in general.

Macross Plus OVA vs. Movie: 1 #Mechamarch2022

The Beginning

If you are here reading this I don’t think I need to explain the above two images to you. They are common in both versions and pretty iconic for Macross Plus. The Macross Plus OVA begins with the song Voices and a sequence from the main trio’s past where Isamu is flying a makeshift aircraft that looks like the Pterosaur bird of Eden. We come to see the two boys side by side in what looks like a rivalry sequence initially but turns out to be just the three of them having fun with Guld and Myung waving at Isamu as he flies off. Incidentally, this is actually the last scene in the movie but we will come to that.

The Macross Plus movie starts on a different note. Instead of the song, we have just the melody, no words. Young Myung makes a brief appearance for a few seconds commenting on blue skies and then we directly move to Myung and Sharon Apple appearing in front of the crowd followed by a sequence of Guld flying the YF-21.

We are shown sequences of him tuning into his aircraft which runs on his brainwaves, imagining parts of the aircraft as parts of his own body to controls it. He is seen using the same association in a later battle too.

Isamu’s Introduction

Unlike the movie, the OVA begins with Isamu. Post the childhood sequence, the OVA narates why Isamu gets sent to EDEN in the first place, a sequence which is completely cut from the movie. We start with a mecha battle in deep space during the year 2040 featuring Isamu where it’s pretty clear to see this is an arrogant/overconfident and rather reckless fighter. Aptly, it is followed by him in his supervisor’s office hearing his transfer orders accompanied by his instances of infractions being listed out and a warning that he should have been court-martialled already. No one wants him so they have decided to send him as a test pilot to New Edwards base. It’s supposed to be an unsavoury prospect but Isamu is overjoyed by it. That sequence in the OVA is followed by the one of Guld tuning into his aircraft already shown in the movie, which is largely same in both versions, just somewhat more detailed in the OVA.

Isamu’s introduction in the movie is not quite as dramatic. We see him standing in a field making airplanes with his hand, already a test pilot. He and Guld seem to be on the same base though they have apparently not met yet. Isamu takes his test flight during which he launches into showing off, flying the craft erratically to draw the Pterosaur in the sky. Guld, who is watching from the control room, is shocked to see this, getting reminded of Isamu doing something similar with his aircraft (same as the one seen at the beginning of the OVA) to do a sky drawing as a kid with him and Myung watching from the ground. He wonders if this is the same person though doesn’t seem happy about it. Incidentally, the same scene happens later in the OVA too but without the childhood flashback.

The Frenemy Reunion

I am talking, of course, about the first time that Isamu and Guld interact (though honestly it can apply beyond that too since everyone seems to be frenemies here). In both the movie and the OVA, this is again played out radically differently. Personally, I prefer this sequence how it plays out in the OVA versus the movie because it allows more of a chance for character development and understanding of these two as individuals.

The movie sequence is rather short and simple. Isamu lands from his test flight all happy, alights from the YF-19 by stepping on Yang’s head even as Yang is yelling at him for his barbaric flight, asks Lucy if she saw his Pterosaur claiming it was for her and then casually mentions a date, not seeming particularly romantically interested in her. Guld shows up in the hangar and Yang introduces him as the rival team’s pilot. Isamu says Guld’s name without being told and we see a sequence hinting that they know each other and there is an ongoing animosity with Guld calling Isamu a plague and Isamu getting very angry at that.

In the OVA, the meeting happens in a completely different way. Their first encounter is just a quick accidental brush. Isamu is heading to the base and Guld flies past him making him realise this is the test aircraft he is here for and become excited again. They don’t speak or even see each other though.

Once at the base, Isamu reports for a meeting of the two design teams of each aircraft. As they start, Chief Millard introduces himself and again these sequences help establish Isamu as a character rather well. His first question is to just ask when he gets to fly. Millard is cautious and mentions maybe Isamu should take a break since he has a reputation for being a hothead. He mentions Isamu does not want to get a promotion and the younger man responds it’s because then he won’t be able to fly. So overconfident, irreverent, hotheaded and loves flying is the context set for him.

There is a presentation giving background to the two fighters YF-19 (Isamu’s) and YF-21 (Guld’s) which are to be tested. Deepening his dubious image, Isamu insults Yang, calling him a kid only to find out he is the Design Chief for the YF-19. While this is going on Guld shows up and it becomes very clear from both his and Isamu’s reaction that they know each other and are not happy to see the other.

Their rivalry is pretty apparent but Guld calmly walks to his seat giving his report to Millard. Honestly, at this point Isamu does not seem too interested in fighting and he just reponds to Guld directly stating it must have been him that he saw in Area Seven earlier while coming. He says this in a pretty benign way, the way you would address a friend or a colleague you were on good terms with. However, Guld ignores him and instead tells the Chief Isamu would be a waste of time leading to an explosive reaction from Isamu. Guld just calmly enjoys the situation stating Isamu is just proving his point. Lucy observes that they seem to know each other.

In the OVA this sequence is followed up by Guld looking up Isamu’s personal record and his Zentradi blood acting up, something which the movie shows much later.

Observations: The OVA begins on the note of childhood and goes deep into character building, especially for Isamu. We get a good understanding into his reckless and irreverent nature, why he ended up here etc. Having seen the scene of their friendly childhood at the beginning, when you are suddenly confronted with their abject animosity, you do wonder what could have happened to those children which resulted in these adults. The OVA also gives a fair bit of context into the aircrafts themselves, who Yang is etc. Without all this context-setting, the beginning of the movie feels a bit rushed.

Also, the movie begins with adult characters largely except the one shot of Myung so that note of loss of innocence is missing. It does build this up a bit with the sequence of Isamu drawing the Pterosaur in the sky but for me personally, that impact is not as strong. Where the OVA seems to set an expectation that people and their relationships will likely be a big focus area for this story with a lot of time spent on interactions of people with each other, the movie seems to set a context that the focus will be on the man-machine interface situation since that is where it begins with Myung and Guld. Not saying it stays there but watching the two back to back, that’s the impression I got.

Since this is a multi-part series, if you’d like to keep tab you can subscribe with your email ID in the menu on the left.

The Macross Plus Series:

  1. Introduction: The Macross Plus Series
  2. Macross Plus OVA vs. Movie: Introduction
    1. Macross Plus OVA vs. Movie: Part 1
    2. Macross Plus OVA vs. Movie: Part 2
    3. Macross Plus OVA vs. Movie: Part 3
    4. Macross Plus OVA vs. Movie: Part 4
    5. Macross Plus OVA vs. Movie: Part 5
    6. Macross Plus OVA vs. Movie: Reflections
  3. Macross Plus: Key Themes
  4. Macross Plus: Characters and Relationships
  5. Macross Plus vs. Macross Franchise
  6. Macross Plus: Creators and Legacy