English Title: Macross Plus
Japanese Title: マクロスプラス
Director(s): Kawamori Shoji & Watanabe Shinichiro
Screenwriter(s): Nobumoto Keiko
Studio: Studio Nue, Triangle Staff
Released: 1994–1995
Series Runtime: 4 episodes, ~38m each.
Film Runtime: 1h 55m
Starring: Yamazaki Takumi, Fukami Rica, Ishizuka Unshou
Although it has been 30 years since its release, it is worth a review of the first true sequel to Macross (1982–1983) as it remains one of the best-produced anime series.
Set in the year 2040, humanity and their Zentradi allies have for a few decades already ventured into space for colonization to preserve their species and civilization.
Macross Plus takes place mostly on the planet Eden and uses the same love-triangle template.
Isamu Dyson, Guld Goa Bowman and Myung Fang Lone were childhood friends on Eden before they grew apart. Isamu is now a highly skilled but reckless UN Spacy pilot. He is re-assigned to New Edwards base on Eden to be a test pilot for “Project Super Nova”, a program to select the next generation variable fighter, specifically the YF-19 team. It turns out Guld is also a pilot but for the competing fighter, the YF-21. Meanwhile, Myung is the producer for the virtual idol Sharon Apple and arrives in Eden for a concert. The three reunite, partly by chance, and the plot follows them as they deal with their unresolved issues…
Although using the triangle template, this one is comprised of two male and one female instead of one male and two female. In the original, the focus is on Hikaru and Minmay whereas Misa is less prominent. In Macross Plus, however, in addition to all three being strong characters, the focus is on all three.
Isamu is seemingly reckless and cavalier but otherwise comes across as a “good guy”. Guld, who is half-Zentradi, with his imposing stature and demeanor is presented as a potential “cunning bad guy”. Guld calls out Isamu for being a traitor. Of course, two guys going at it can say whatever but Myung acts like there may be some truth to what Guld says.
In other words, what is intriguing is that what is said is at odds with what is shown. Clues are offered as to what happened years ago but one is not quite sure until the revelation at the end.
Consistent to the franchise, one of the themes is one’s dreams and aspirations. Isamu and Guld have both become pilots as they wanted. Myung observes that the two haven’t changed even though she had hoped they would grow up. She, on the other hand, had given up singing despite her love for it, instead becoming a producer of Sharon Apple.
So, whilst the original series deals with how one needs to grow up and choose which dream one wants to pursue (as one can’t have it all), this series is about being an adult and living with the choices one has made, particularly the dreams one has given up. In this regard, Macross Plus is a more mature work.
This series wisely avoids repeating a war setting. By having a test program, the setup provides the stage for the conflict between the two male leads as well as plenty of mecha and flight action.
Part of the plot and a theme is the potential danger of AI. Although not a new idea at the time, what is depicted is relevant to the AI development trajectory in recent years. Sharon Apple is an AI idol housed in a black rectangular box with a single red light that is an obvious reference to HAL 9000 from 2001: A Space Odyssey (1968). She presents herself in at least three holographic forms and although not a main character, she nonetheless plays a significant role in the plot. Of course, as with any developing technology, the military has its interests and applications such as drone warfare.
Juxtaposed to AI is the revolutionary brainwave-controlled system used by the YF-21. This is no mere sci-fi gimmick point for the sake of it or even for the visuals but is used for key plot points. AI may have its problems but so will brain–computer interfaces and the series makes a point about some implications.
Visually, this series was and remains one of the best. The mecha design is fitting aesthetically and for storytelling. The VF-11 Thunderbolt is the fighter currently in service, its form essentially an updated version of the VF-1 Valkyrie so the audience can easily make the connection.
The two new competing fighters are drastically different. The YF-19 has a forward-swept configuration whilst the YF-21 is a stealthy design inspired by the real Northrop/McDonnell Douglas YF-23 that was part of the ATF program in which it competed against what became the F-22. The YF-21’s battroid form is inspired by the Zentradi power suits.
Besides the mecha design, the backgrounds, environment and characters are excellent. Of course, there are shots in which the clouds could be better rendered and, as is common, there are some inconsistencies between the different angles of some characters, especially for Myung and Yang Neumann, the designer of the YF-19. But, overall, the details are immense in terms of both quantity and quality: from various locations in the city (which is based on San Francisco) to interior design such as door handles, and cockpit screens. CG is used in limited ways, mainly for when one expects CG to be used such as schematics.
The sound design and editing are also excellent, matching the mecha and flight action and enhancing the realism. The voice acting is solid and consistent. As is common, the main problem is the noticeable difference between a character’s speaking voice and singing voice—in this case, Myung’s. Also, this is one of the animes in which the English dub is generally well-executed both the performances and its sound mix.
The score and soundtrack composed by Kanno Yoko range from conventional orchestral pieces featuring the Israel Philharmonic Orchestra to electronic and rock-pop. Somewhat dark and melancholic themes are common given the nature of the premise and story. It is good that Kanno Yoko subsequently composed an even fuller score and soundtrack for Macross Frontier (2008).
The compilation film is not bad in itself but is unnecessary. The four episodes together are about two and a half hours. The film is just under two hours. The four episodes are already tight, so cutting about thirty minutes is not exactly a retelling. It merely simplifies some plotting and the relationships to more conventional romance, thus taking away the aspects that make the series interesting. Such an approach is necessary if the compilation film is for twenty-plus episodes but pointless for four episodes.
On balance, Macross Plus is excellent in all respects: strong characters in an emotionally charged but mature story, good pacing, awesome mecha action, solid performances and cinematic visuals, sound and music. Sure, there are little silly points like Isamu crashing the simulator (even if it is for comical value) and getting away with unsafe maneuvers during testing. More importantly, the plot arguably becomes predictable later and one perhaps wants a bit more about what happened between the three leads years ago, but it is clear and satisfying.
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