Macross Frontier Culture
Macross Frontier's people have a wide diversity of cultures with an apparent mix of Asian/American/European Human and Zentradi backgrounds. The Zentradi themselves had established a recreational and agricultural colony ship/section named Island 3 which allowed them to live in both macronized (giant) and micronized (normal) form. Also, it is revealed that the Zentradi have families and clans which have traditions such as military service or even farming.
The Island 1 main colony ship was designed to resemble Earth culture before its near annihilation (during the early 2000s (decade)) to invoke a psychological sense of security. Old Earth structures can be clearly seen such as buildings from the American city of San Francisco and Japanese city of Shibuya.
Likewise, human culture has been shown to have similar traditional families such as Kabuki families from ancient Japan living among the population, performing their art from generation to generation.
Each ship reflects these cultural backgrounds by landmarks found across the fleet, such as a replica of San Francisco's cable trolley cars and a replica of the Golden Gate Bridge found on Island 1. In particular, this ship holds the Tenkumon concert hall and the Mihoshi Academy facilities.
Sense of community and music is an important factor to people of the Macross Frontier. Various musicians can be seen regularly playing at the Zentradi Mall on Island 3 which is where Ranka Lee got her start as pop singer. Music from earlier eras of the Macross franchise can be heard being played everywhere, including Macross 7's Fire Bomber (Basara), Sharon Apple from Macross Plus, as well as Lynn Minmay's songs.
Read more about this topic: List Of Macross Frontier Terminology
Famous quotes containing the words frontier and/or culture:
“It is very perplexing how an intrepid frontier people, who fought a wilderness, floods, tornadoes, and the Rockies, cower before criticism, which is regarded as a malignant tumor in the imagination.”
—Edward Dahlberg (1900–1977)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)