The End of the World

[Categories: OAVs, Movies and Full Series]

Macross Zero: getting back to the beginning of it all

Posted by Martin  [Tags: Macross]

With Macross Frontier drawing to a close by the end of the month I figured that now is a good time to revisit one of my earliest fansubbed experiences in the form of Macross Zero. At the time when I first watched it the brilliance of Plus was fresh in my mind but that was as far as my knowledge of the franchise went; with hindsight (and most of Frontier) behind me the re-watch was an interesting exercise in watching the prequel OAV with more experienced eyes and seeing how it fits into the Macross universe as a whole.

Going for a GERWALK on the beach *cough*

The drawn-out release schedule (five parts over the course of two years) indicates that the production staff took their time over this, which really shows in the production values. I believe it was also the most expensive series of its time and although I’m not sure if that record still stands, I have to admit that every frame oozes the sense that no expense was spared. Before I get onto the other aspects of the series I will concede that Zero is the prettiest addition to the franchise to date: there’s no evidence of pans, stills or any other form of corner-cutting so I’d recommend it on the eye candy level alone; it just looks gorgeous. Sadly certain other key areas are not as flawless.

Right from the first few scenes it’s clear that the aerial combat, and particularly the iconic transforming fighter planes, are the stars of the show here. Zero is considered a landmark example of blending CG with cel animation and considering its vintage I can see where all the praise aimed at the visuals came from. It doesn’t look jarring either - the digital sits side-by-side with the traditionally-drawn art, leaving an overall experience that will have you on the edge of your seat with your jaw in your lap. It certainly maintains the standard the creators set for themselves in Plus and, I daresay, gave Frontier a target to aim for in its own combat scenes. If it’s shiny aircraft, fast-paced dogfights and pretty explosions you’re after, look no further.

Macross gets back to nature

The variations on recurring themes are a quintessential part of Macross lore and every series offers some extra reward for long-standing fans; in this case it features Roy Foker, which earns it a bonus point or two. The overall premise of this series however takes the story right back to the ongoing war between the UN and rebel factions shortly after the original SDF-1 crash-lands, when the first Valkyries are being tested in the field. The events take place on the small Pacific island of Mayan, where crucial pieces of evidence regarding the protoculture theory become a source of conflict between the UN and its enemies, with the indigenous islanders caught in the crossfire.

I actually enjoy seeing how each addition to the franchise does its own take on the general theme, and this one is no exeption. Perhaps because it’s at the beginning of the Macross timeline, there’s a real sense of going back to the root of it all: it’s as much a mystical piece as a sci-fi one. We see the transforming jets for the first time too, and there are no enemy aliens to speak of (well, not strictly speaking…). The male lead of the piece, a UN pilot named Shin who crash lands on Mayan and is rescued by its inhabitants, provides a stark culture shock and ecological slant when his contemporary attitude and values are placed alongside the peaceful and superstitious island community. Their culture’s mythology is fascinating in that it alludes to the protoculture idea and ties in legends from other civilisations, past and present, too.

The Birdman wouldn’t lie

The resulting dynamic between Shin and two of the Mayan islanders, the priestess Sara and younger sister Mao (the latter whose name crops up in Frontier, interestingly), is the token romantic subplot but is one area in which Zero doesn’t quite make the grade. The progress of the romance between Sara and Shin is supposed to be complicated by her steadfast belief in her culture’s traditions and his status as an active combantant but their differences in points of view are so fundamental that I didn’t find the mutual attraction to be convincing enough.

The problem I encountered with Zero is that, for me at least, Macross isn’t primarily about the mecha action: granted, it provides a significant proportion of the entertainment value but the underlying themes and character-driven side of things carry the story between one battle and the next, and ensure that all the flying bullets and missiles mean something other than just looking impressive. In this case there’s plenty of potential but whether it was wasteful scripting or the short running time I’m not sure but this series didn’t quite deliver on its promise.

Sara and Shin contemplate their place in the conflict

There is a moment of understanding in episode #4 but overall the emotion between the two of them is somewhat lacking; which is a shame, because as in other areas in which the OAV falls short the potential is very much there. I’ve seen Kawamori’s creativity and eye for characterisation when it’s firing on all cylinders and sadly this isn’t one of those times; when the mecha rather than the people are the most realistic and lifelike, you know something went wrong somewhere along the line.

The anti-war sentiment that provides such a fascinating juxtaposition with the impressive visuals in the combat scenes is one thing I love about Macross, and takes a fascinating approach here: it focuses on how modern warfare, and contemporary society as a whole, impacts on communities such as Mayan, which have been living a peaceful and non-industrialised existence for centuries. The recent encroachment of factors like electricity, urban migration and scientific ideas into the otherwise isolated community throws up interesting issues regarding the vanishing way of life that the likes of Sara are so keen to hold onto, and also questions which culture is the truly civilised one when the only things technology is able to deliver to Mayan are death and destruction.

More transforming Valkyrie win. Just because

As part of the overall Macross universe, Zero is one of the more serious and grown-up additions, having as it does a contemporary setting with planes and other vehicles that deliberately evoke real-life conflicts that are fresh in the memory. It certainly makes a conscious effort to be taken seriously - if only Frontier had a similar aim! - with more grown-up protagonists who have bigger issues to deal with than just romantic feelings. The strong spiritual theme and the decision to set the entire story on planet Earth certainly sets it apart from the others and the music is impressive too. Kuniaki Haishima’s contributions to Gasaraki and Monster were of enviable quality and this is of the same calibre: some of the background music, well, just sits in the background but the main theme, called Forest Song I believe, is quite beautiful.

I wouldn’t say Macross Zero is the best of Macross so far (Plus still holds that place in my heart) but it’s still a visual treat and a must for existing fans as much as newcomers to the franchise. Sadly, I very much doubt a DVD release of this (or, even better, Blu-ray!) will be forthcoming until Harmony Gold take their legal ties off from around Studio Nue’s proverbial testicles. It’s not likely to happen any time soon but we can but hope. In the meantime then here’s Roy Foker being heroic and awesome. I’m sure he wouldn’t stand for all that royalties nonsense.

[Filed under OAVs, Movies and Full Series]  [Tags: Macross]

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