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Whereas Noriko, despite the horrors she has witnessed in space, is fundamentally still a kid, Kimiko is no longer the cheerful and carefree schoolgirl the protagonist remembers. Now a mother concerned with her little daughter Takami’s future, she begs Noriko to use her connections in the military in order to secure a place for the girl on the Eltrium, the evacuation ship built 3. Gunbuster 33 in preparation for the aliens’ ultimate onslaught within which only a paltry number of humans can be feasibly accommodated.

Driven by an eminently teleological notion of cosmic expansion as the guarantee of steady progression toward higher and higher ends, humans simply cannot grasp the Abh’s own worldview: as it happens, the alien race has no interest in dominance per se but actually regards the conquest of space purely as a means of gaining the freedom to roam it and to fathom its inexhaustible beauty. ) Traces of Wings of Honneamise’s take on the development of astronautical technology and its military utilization can also be detected in Shouji Kawamori’s Macross Plus —The Movie (1995)— a film that concurrently reverberates with Yamaga’s fascination with intensely painterly natural imagery whose pastoral charm stands in ironic contrast with the technological equipment’s sinister connotations.

Moreover, Wings of Honneamise uses the popular elements of Art Deco — trapezoidal, zigzagged and tumbled shapes, as well as fractionated, crystalline and prismatic patterns — allied with sweeping curves that at times supplement and at other times supplant 2. Royal Space Force: The Wings of Honneamise 23 the more gently sinuous and whiplash lines, largely based on stylized organic forms, characteristic of Art Nouveau. The pervasive utilization of elements derived from Art Deco and Art Nouveau in the creation of vibrant urbanscapes replete with myriad ornamental fixtures evokes a relatively recognizable stylistic realm.