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Continuing in our pursuit to bring to light all viewpoints (and to admit all of our mistakes), Akadot offers this
collection of letters we received in response to our June 15th posting,
"Re-visiting Robotech," an interview with "Robotech"
producer and story editor Carl Macek.
We received this letter from a dedicated "Macross" fan in Italy.
Dear Akadot,
As a long time anime fan from Italy, with a particular interest in Macross and, by the way, in all the works
created by Kawamori-sensei, I feel almost obliged to express a few considerations about the retrospectives concerning
"Robotech," recently appeared on Akadot. I am doing this, hoping that you will excuse my poor English.
Having followed with great interest the evolution of your excellent website, in the recent months, I found
surprisingly unpleasant Akadot's approach to the subject, particularly in the article-interview with Carl Macek, in
which elements ranging from factual errors, to quite distasteful ideological proclaims, are presented to uphold an
otherwise (at least in appearance) reasonable theory.
Here, at the cost of being tedious, I will only briefly consider the thesis itself (the legitimacy of Mr.
Macek's "adaptation") concentrating instead on "facts" and arguments expressed.
Mr. Macek says (about the original structure of Macross) "I just didn't think that would be effective for
storytelling in the United States." It is clear, here, that he deliberately misunderstands the three different problems
of plot consistence, aesthetical integrity and market success.
Then the interviewed person goes on explaining why he did not think of music "like a realistic criteria(sic) for
them [aliens] to be defeated." Again, this is not a matter of adaptation (as a cultural process), but merely a problem
of Mr. Macek's commercial strategies. "Realism" has never been a substantial motif, in a work mainly based on
self-analysis and self-irony like "Macross." The show certainly does contain extremely detailed descriptions of the
technology, and also, more importantly, of the relations between such technology and the society that creates it and is
represented by means of it; anyway that, more or less subtle, image of the world (and of the individuals), is not
necessarily inspired by "realism."
Mr. Macek's opinions, quite shallow per se, sound slightly comical when thinking of the first lines in his
interview. "I watched them [the series] without sound, scripts or cues as to what they were really about." But then
again, he assumes to be able to tell what is "effective storytelling" and what is not. The value of a work in its
integrity? What a futile thing.
In the end, it is clear that the point is to consider an existing, finished and clearly identified work of
(someone else's) creativity, as a "raw material" involved in an industrial process. Not only, by definition, the editor
has ample chance to decide the process itself, but also, apparently, is given to him the moral right to determine the
ultimate value of a work, that could not possibly exist, if not as part of that process. In a certain way, it seems, a
foreign work acquires dignity only in relation to its function of "raw material" for the U.S. entertainment
industry.
Aside from those problems, the second part of the article is possibly even more unbalanced and distorted,
reflecting a surprising indulgence of the interviewer about statements that really have a scarce historical basis.
"In Japan, the release of the pre-Macek series was a complete and utter failure." This is simply false.
Although the first episodes of "Macross" did not obtain good audience results by the year '83, the series gained a great,
if not overwhelming, popularity - the release of the movie "Ai Oboeteimasu ka" ('84), was extremely successful both in
theatres and in home-video (even surpassing in sales Miyazaki Hayao's "Nausicaa"). The case of "Southern Cross" and
"Mospeada" is admittedly different, but the expression "utter failure" is incorrect.
"If 'Macross' could have been released as is, it would have been. (Why would anyone monkey with footage that was
already popular?)" One could ask a similar question about the recent North American TV adaptations of "Tenkuu no
Escaflowne" and "Card Captor Sakura," but then again the process that "creates" capital from "raw materials" is sacred
and untouchable.
"[...]the creators of the original anime, have been unwaveringly supportive" and "For an artist, producer, or
distributor, the downside is very well near nonexistent." I really cannot remember any statement of this tenor from
director Ishiguro Noboru or Kawamori-sensei himself, but maybe it is simply my fault. On the contrary, certainly Mr.
Macek knows very well Miyazaki Hayao's opinions about the "downsides" of "Warriors of the Wind" and other similar
"adaptations."
"[...] their previously worthless(sic!) product soared [...]" and "[...] the transformation of what was once a
flop into something sublime." These sentences border the insult (or maybe the delirium). I won't comment.
"... because of that transformation, the art form they'd loved for years gaining acceptance in the biggest market
in the western world - a feat generally considered the pinnacle achievement of entertainment media." The text ends on a
note that well represents its general tone - this is "the pinnacle achievement" of a certain arrogant provincialism
(alas, too often showed by some North Americans) that dominates the interview.
With all its errors and misunderstandings, the article neither renders justice to "Macross," nor probably to
"Robotech." [It] is supported more with ideological postures than with real arguments.
I am sincerely hoping to see in the future, on the website, a more balanced and intelligent treatment of the
subject, as Akadot has showed to be able to do.
Thank you for your attention.
Regards
Luigi G. Faramelli
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