Renowned anime director Shinichirō Watanabe, known for hit shows like “Cowboy Bebop“, “Samurai Champloo”, and “Space Dandy”, is set to unveil his latest creation, titled “Lazarus“, on Adult Swim’s Toonami. This gifted director has built a reputation for producing some of the most fashionable anime in the industry, gaining international acclaim for his unique influences and impeccable taste in music. Although “Cowboy Bebop” was Watanabe’s breakout success overseas, his first significant directing role as a lead was on an installment within a renowned mecha franchise. This project for the prestigious mecha series served as a foundation for his signature style and paved the way for him to work on “Cowboy Bebop”.
I had the opportunity to witness Watanabe stepping into the directorial role for the first time with the OVA series of “Macross Plus”, a significant expansion within the expansive “Macross” universe. Notably, “Macross Plus” was the primary sequel following the original “Super Dimension Fortress Macross”, disregarding the OVA “Flash Back 2012” and the critically panned six-episode OVA series titled “Super Dimensional Fortress Macross II: Lovers Again”. This series served as a fresh start for the “Macross” franchise, revitalizing its momentum. Although Watanabe was brought on board for this project, his distinctive stylistic choices, reflecting his fascination with Western culture and music, were evident throughout “Macross Plus”, marking him as an emerging directorial talent.
Where Macross Plus Lands in the Franchise’s Timeline
In an unusual turn for the Macross series, Macross Plus emerged at a point when the franchise was experiencing some creative shifts. While Flash Back 2012 was overseen by the same team that worked on the initial Macross series, Macross II was produced independently without any involvement from the original creators. Notably, it’s the only show in the franchise that didn’t receive input from the lead creator, Shoji Kawamori. The reception to Macross II left a bitter taste for both fans and creators alike. Despite garnering a modest following, the original team opted to begin anew with Macross Plus.
In essence, it seems that the “Macross Plus” animated series leans heavily towards being Shoji Kawamori’s vision, rather than Shinichirō Watanabe’s. Kawamori has been deeply involved in most of the Macross shows, assuming roles such as lead director, writer, designer, or even providing the story ideas. He co-directed “Macross Plus” with Watanabe. This OVA presents themes and aesthetics typical of Kawamori’s work, like love triangles, musical concert scenes, and using music sincerely to bridge connections between characters. Compared to other Macross projects, “Plus” is more somber and serious, lacking the lighthearted yet genuine humor previously displayed in the franchise. A notable difference is a serious plot point of sexual assault that appears out-of-character for the usual tone of the Macross shows at that time.
In a sense, “Macross Plus” could be considered a coming-of-age story for the franchise, venturing into more mature and thought-provoking narratives. It’s possible that Watanabe influenced the darker tone in “Plus,” as the subsequent entry, “Macross 7,” returned the series to its more comedic style.
Macross Plus Reveals Shinichirō Watanabe’s Love of Music and Western Media
Although Macross is well-known for Kawamori’s influence, Macross Plus showcases many elements that later define Shinichirō Watanabe’s creative style. Notably, Watanabe’s projects are heavily impacted by music and Western media, as evidenced by Cowboy Bebop‘s unique blend of jazz and anime aesthetics. From the start, Macross has been centered around music, with songs serving as a powerful means of artistic expression that brings people together.
The storyline of Macross Plus revolves around an artificial AI singer, Sharon Apple, with significant scenes occurring during a concert. The pinnacle of the series is based on the deep connection through music between its two primary romantic leads. Although the motif of music solving problems is a common trope in Macross, it aligns well with how Watanabe portrays music in his other animations. In Carole & Tuesday, Watanabe showcases the significance of music, featuring teenage girls chasing their musical dreams on Mars. The emotional resonance in Carole & Tuesday lies in using music as a form of artistic self-expression, similar to the themes explored in Macross. Notably, Macross Plus marked Watanabe’s first collaboration with Yoko Kanno, who later contributed to Cowboy Bebop and Terror in Resonance. Kanno was instrumental in creating several jazz tunes for Cowboy Bebop, thereby shaping its distinct musical style.
Watanabe’s works often reflect his strong affinity for Western films and media. For instance, “Cowboy Bebop” draws distinct parallels with noir and gangster movies from the golden age of cinema. Similarly, “Macross Plus” is heavily influenced by “Top Gun,” as its lead male characters are test pilots for a government-backed jet program. These characters share a long-standing friendship and rivalry, and much of the OVA revolves around them competing in aircraft tests. The main character, Isamu Alva Dyson, bears a striking resemblance to Tom Cruise’s Maverick in “Top Gun.” Later “Macross” series would focus more on the pop idol aspect, while “Macross Plus” maintains its roots as a jet/mecha series that seems to celebrate masculinity, potentially due to the influence of “Top Gun.” In essence, “Macross Plus” could be described as an almost unofficial sci-fi sequel to “Top Gun.
For the first time ever, “Macross Plus” and the entire franchise are streaming worldwide, giving people a chance to view one of Shinichirō Watanabe’s early directorial projects. Following “Plus,” Watanabe would go on to create “Cowboy Bebop,” solidifying his status as one of the most impactful anime directors from the ’90s and 2000s. Although “Macross Plus” adhered to the blueprint set by co-director Shoji Kawamori’s other works, it remains distinctly Watanabe’s work.
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2025-03-25 22:40