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Brofessor

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About Brofessor

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    https://superdimensionalanalysis.com/a-robotech-macross-photo-essay/

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  1. I agree. The Grand Cannon is an inverted castle. The Grand Cannon is an example of Fairytale Inversion. The writers and writing of the series deserves a lot more attention and credit.
  2. Mainstream institutions of higher learning uniformly respond to me as... "eccentric." :) I don't know how to suggest this material to academics. Any ideas? There is a tiny chance there will be a Macross/Robotech panel at the next Escape Velocity and Museum of Science Fiction Convention somewhat related to the topics I have presented here. I hear you loud and clear with the Star Wars trash compactor scene in relation to where my post belongs. However, George Lucas was interested in Joseph Campbell's hero's journey which is based on Carl Jung's theories. So, the trash compactor is an abyss or belly of the whale and Luke passes this stage of the journey. So maybe my post will survive its trials and tribulations here? Anyway, I hope there is some mild lukewarm enjoyment of my posts. Bemusement? Sick curiosity? I would like to point out the talents of the writers.
  3. Great accomplishments of the creators of SDF Macross exist in its storytelling techniques and plot construction. The writers deserve a lot of acknowledgement for their talents in this area. Some of these plot techniques are Fairytale Inversion, Transgressive Fiction, Defamiliarization, and Iceberg Theory. These concepts contribute to the success of this franchise. Could anyone suggest other plot techniques in Episodes 1 to 36? Fairytale Inversion occurs when this series inverts several motifs normally observed in fairytales. The villain character Buritai defects and allies with protagonist Earth forces. Earth is not saved but instead is almost totally annihilated. Misa is trapped underground in the Grand Cannon and rescued by Hikaru as opposed to Cinderella being locked in the attic or a princess imprisoned by a king in a turret of his castle. Hikaru as a knight errant character does not defeat Boddole Zer but Minmay as a princess character seemingly defeats the villain. Hikaru will not find love with the princess-like Minmay but with the more practical Misa. Exsedol turns out to portray the “Honest Advisor” trope instead of the “Evil Chancellor” or “Treachorous Advisor” tropes. The negotiated peace between Buritai’s forces and the miclones demonstrated in Episodes 26 and 27 illustrates a concept referred to as Transgressive Fiction. Not only does Buritai subvert Boddole Zer in these episodes, but this series subverts its genre. This is the plot twist. The viewers engaged with the material under the subconscious assumptions and expectations of the good guys winning, the bad guys losing, and the hero getting the girl. The out-of-universe audience projects learned biases onto recognizable genres classifying tragedy and historical drama as nobler and higher art than comedy or animation. This bias is transgressed by this series when animation becomes noble and high art. The Zentradi defectors subvert the expectations of the viewers. The genre of this series could be defined as science fiction, space opera, or simply, children’s cartoon. The onscreen deaths of major and minor characters alike subverted international audiences’ assumptions about the children’s cartoon genre. This genre subversion imbues the viewers with entertainment value, intellectual stimulation, and anticipation of future episodes. Worldwide in 1982, perhaps the genre occupied by SDF Macross was creatively exhausted and stale, but Episodes 26 and 27 were transformational and gave the viewers something new by advancing the genre. The writers reinvented the genre. Buritai’s subversion of Boddole Zer and this cartoon’s subversion of the audiences’ expectations is known by the literary concept transgression. Buritai is a transgressive character and the fiction of this science fiction series is transgressive fiction. Buritai transgresses the typical archetype role of an antagonist. The adult themes of this series transgress the typical themes of 1980s animation. In addition, Buritai experiences the transformational power of redemption as he observed the folly of his ways and decided to change. Omitting details about Zentradi society is an artistic device known as Iceberg Theory or the Theory of Omission. Only the tip of the iceberg is observed. Some examples are the Zentradi reaction to a kiss or the gender segregation of the Zentradi. In 1982 the submerged iceberg, or character’s background story, existed in the mind of the viewer by way of inferences from indirect evidence. Counterintuitively, a fuller and richer viewing experience is enjoyed by actually omitting facts and details allowing the unlimited imagination of the audience to explain and justify onscreen behaviors. Another concept is Defamiliarization. The introduction of the term miclone defamiliarizes humanity for the out-of-universe viewers in an existential moment. Defamiliarization is a narrative device or literary concept which presents something common in an uncommon setting or circumstance. It allows the viewer to experience the familiar again for the first time and reevaluate the nature of the concept being defamiliarized. In this case, the viewers see themselves through the eyes of the Zentradi. Milia tossing Komilia Maria haphazardly to Misa is one example. Defamiliarization was used in Episode 25: Virgin Road when Milia attempted to cook as well as in many other Zentradi-miclone interactions and observations. It allows the viewers to experience the familiar again and reevaluate their own culture from the point of view of an outsider. Nuance and sincerity are endangered species on the internet. I am totally cool with all the humor and criticisms. Very funny stuff on my previous post. I understand the moderators here are brofessional and have final brauthority. I think Macross is really genius and deserves much more recognition in academic circles.
  4. Hi. Thanks for the suggestions. The link I provided above uses Robotech and DYRL to examine the original Macross. I really want to respect this forum and limit any discussion of Robotech so I chose to post in this section of the forum. However, any Moderator is welcome to move this topic. I will look into the Transformers forum.
  5. Hello. Does anyone have any thoughts on the plot structure of the original 1982 Macross Episodes 1 to 36? I would like to start a topic for this discussion. I recently came across some analysis of Star Wars which inspired me to take a hard look at Macross. The original Japanese creators should be recognized not only for their artistic designs but also their talent in plot mechanics and storytelling. The central love triangle of the original Macross series can be deconstructed by comparing it to the love triangle dramatized in Episodes IV, V, and VI of the Star Wars film series. In this trilogy Luke Skywalker and Han Solo represent two archetypes of the male gender. Luke is moral simply for the sake of being moral while Han Solo primarily seeks financial compensation and views morality as a secondary concern. Eventually, Han Solo embraces morality as his primary motivator when he flies cover for Luke at the end of Episode IV. The Star Wars love triangle is resolved when Princess Leia and Luke discover their familial love, and Princess Leia and Han Solo embrace romantic love. The three members of this love triangle eventually collaborate to achieve good. In SDF Macross it is the female gender which is split into two archetypes. Misa is similar to Luke as she is sacred, pure, selfless, and noble. Minmay is similar to Han Solo as she is secular, worldly, and materialistic. Minmay eventually embraces selflessness as her primary purpose. The Macross love triangle is resolved when Hikaru and Minmay discover platonic love, and Hikaru and Misa embrace romantic love. In the television series the three members of the love triangle envision a future in which they will collaborate to achieve good. In Star Wars Han and Luke achieve growth by borrowing elements from each other to become more desirable self-actualized balanced full wholes. In Macross Misa and Minmay achieve growth by borrowing elements from each other similar to Han and Luke. This is cathartic for the out-of-universe audience which may process this information on the subconscious level. A second analysis utilizes psychoanalytical critical theory based on the Swiss psychiatrist Carl Jung's proposed system of archetypes in his theory of analytical psychology which are helpful in elucidating Hikaru’s character. Hikaru may represent the self. His shadow, as defined by Jung, could be Roy, Kakizaki, and Quamzin as they represent lustful desire and violence. Hikaru’s unconscious female nature or anima might be represented as both Misa and Minmay. Hikaru’s senex might be Captain Global and Buritai as wise old men. At the end of this series, using Jungian terminology, Hikaru achieves actualization through individuation. This is cathartic for the out-of-universe audience. These characters can all be viewed as archetypes symbolizing components of Hikaru’s psyche. The out-of-universe audience may process the entire series as a journey of the self, represented as many individual fictional characters. In Star Wars Luke is the primary self, Han and Darth Vader are the shadow, Leia is the anima, and Yoda and Obi-Wan are the senex. Carl Jung proposed all men have female qualities he defined as anima and all women have male qualities he defined as animus. Carl Jung also proposes the self strives to become the senex or wise old man or in possession of the wisdom of the collective unconscious. Academic study of Macross has the advantage of DYRL and Robotech as tools to focus and distill the core plot elements. I wrote a 118 page essay intended for the widest international readership examining Episodes 1 to 36. My background is strongest in Robotech, and I also suspect the largest worldwide interest in my essay would find Robotech more accessible. My essay is written as a gateway to transition Robotech fans into the core Macross material. Please be warned my essay analyzes Macross, DYRL, and Robotech and utilizes Robotech terminology. Here is the link: https://superdimensionalanalysis.com/a-media-literacy-and-distilled-synthesis-for-every-incarnation-of-events-depicted-in-episodes-1-to-36/ Please be kind. While some find a deeper appreciation for the material in this type of analysis, objective analysis of something well loved can sometimes be disconcerting to those who enjoy the immersive quality of its fiction. Also, this type of analysis is dependent on our sincerity, integrity, honesty, and goodwill. There are a million other interpretations of the material which are interesting as long as they are based on sincerity. Thanks.
  6. The first two Bill and Ted films are most excellent. They embody a beautiful ethos about the human spirit. "Be excellent to each other. And party on dude." This is the golden rule of 'do unto others as you would have them do unto you.' The "party on" portion is akin to turning the other cheek, live and let live, forgive and forget, keep on truckin,' etc. Bill and Ted are holy fools or idiot savants. They are good natured and pure of heart. At it's most cathartic, rock and roll music captures this joy of living. All that said, Bill and Ted 3 is horrible. They missed the mark. The film just does not connect with the audience. The plot feels very forced and obviously formulaic, tired, and old. The plot borrows the tone of Spinal Tap. If you are middle aged and experienced Bill and Ted contemporaneously in your childhood, you may watch the film as a sad reminder there is currently a new generation of youths completely independent of your experience, values, priorities, and aesthetic tastes. The film reminds you of being completely out of touch with the new generation of youths. The film also fails at being an emissary of shared values between generations of audience members. I would prefer current youths not watch this film as it reflects poorly on my childhood and my generation. I would prefer current youths watch the first two Bill and Ted films. Much of the plot should have been cut out of the film. It needed a much simpler and straightforward plot. They packed way too much into the plot and the film was very rushed. It had very fast pacing but not in a good way. If I delicately wander into a controversial zone, the film may attempt to pay lip service to feminism and diversity but seems to fail at these attempts. I paid $19.99 on Amazon Prime to rent the film. It was something to do during this pandemic, but it was a horrible film. Party on dude!
  7. Thanks for sharing the announcement Perhaps I don't deserve my avatar but it recently occurred to me that Dana Sterling in Remix is like Marty McFly as she is trying to orchestrate her own conception and then return to her own timeline.
  8. Thanks a lot. I just found in Episode 11 where Bodolzaa refers to the reaction weapons. Minmay's birthday episode with the introduction of Max and Kakizake shows Kakizaki pointing out the area. DYRL? shows Minmay sort of eye-roll during her and Hikaru's date montage.
  9. Hi. In Episode 3 of SDF Macross Britai orders Exedore or his troops to fire on the ARMD's but not the SDF-1 because "that ship interests" him. What is the reason for this? Why does Britai and eventually Bodolzaa want a supervision army ship? Thanks.
  10. I am reading the translation of the Macross Chronicle on the web. Can anyone help me understand this sentence from the synopsis for Episode 9: Miss Macross? "Also, a little bit before that, director Yamaga Hiroyuki seems to have received Mr. Miyatake Kazutaka's "purchased with cake" depiction of the genga in the cut where Hikaru clutches the control column in the scene where he intercepts the missiles (pictured)." Is "purchased with cake" just a strange Japanese idiom or maxim? Does it just mean included in the price? I am just curious because I suspect when Hikaru clutches his control column it is an innuendo or double entendre. Does "purchased with cake" have a risque implication?
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