by Anton Mei Brandt and Kathy Clarkson
Episode 4: Save Iscandar! The rebellion of the young heroes!
On Earth, UNCF commander Todo receives a report from his daughter Saki of Iscandar’s unbelievable warp. According to Ginga’s readings, the warp wasn’t a natural phenomenon, as is evident by the fact that it’s begun accelerating toward our Milky Way Galaxy.
“Someone can move a planet at will?” Todo asks.
If Ginga’s calculations are correct, the closest fleet to Iscandar’s predicted warpout point is none other than Defense Fleet 65 – Yamato’s fleet.
[KC]: You don’t say. And Iscandar is heading toward us? Uncanny. It’s like how Tatooine is supposed to be this backwater nothing of a planet in the Star Wars universe, but so much happens there. In The New Voyage, didn’t Dessler have to call Earth or Yamato directly for help when this happened?
[AMB]: Same trajectory, at least. Which once more raises the question: are the Dezarium truly as alien as they make themselves out to be? I’m happy to see Ginga plays some role in this, even if it’s just as an observation vessel.
And yes, you’re absolutely correct! Once Iscandar begins to warp in the original story, Dessler reluctantly orders Talan to inform Kodai especially. Kodai is unsure if he can risk galactic war by intervening, but commander Todo says they must repay the favor Iscandar once granted them. The scene in Episode 1 where Kodai sends a personal message to Dessler might have grown out of this small moment.
[KC]: I do still get a kick out of noticing how older, beloved content is being reimagined here.
[AMB]: As do I!
Alongside Captain Deda’s forces, Iscandar warps out in a crimson red region of space. Great Pleiades receives a heavily distorted transmission from Melda Dietz, Garmillas ambassador and Royal Attendant of Iscandar. She urges Deda to identify his affiliation, but he’s too invested in the Earthling piano music permeating his bridge to care. Eventually, her calls for diplomacy are drowned out as a controller reports on Iscandar’s current state.
“Iscandar’s been materialized in the current space-time. No loss of mass.”
“No abnormality in atmospheric composition,” another responds.
[AMB]: This is the first time we hear how not only music sounds distorted to Dezarium audio receivers, but radio wave transmissions as well. This could hint at the possibility that the Earthling piano music enjoyed by Deda and Meldarz might be streamed from an Earth source, rather than from a Dezarium hard-drive. If Dezarians were humans once, it could be that classical Earth music is like lost media to them. Or it could be that they truly are alien altogether, having simply picked up music from a Golden Record in one of NASA’s Voyager probes.
For those of you unaware, the Golden Record was launched with Voyager 1 in 1977, and it included several timeless pieces of music from, for example, Mozart and Bach. The particular tunes played throughout 2205 were not on the original Golden Record, but it could be that NASA in the Yamato universe sent out more Voyager probes. The particular piece played here is Chopin’s Nocturne Op. 9 No. 2 in E flat major.
[KC]: Both good takes. I definitely think there’s more to this quirk than the general conceit we see on shows like Star Trek where future humans and aliens are fans or experts on the art, history, and/or culture of some particular current era in order for the viewing audience to have relatable content.
[AMB]: No kidding. What’s the deal with the space-time talk? It’s as if they expected loss of mass to be a risk in this warping sequence.
Next episode, this red space will be revealed to be the Bolzon system. It originally featured in the first Space Battleship Yamato novelization. It’s one of few star systems Dessler failed to subjugate, opting instead to form a strong bond with its King whom communicates through reading feelings, rather than by using vocal communication. It’s the deepest of deep cuts!
Read more here.
[KC]: So he can read the feelings of others, but how does he communicate back, by making them feel things? I never did read that novelization. Time to click the link!
Commander Meldarz phones in, trying to rouse Deda into action.
“I still hear the noise, Deda.”
“Looks like we brought it along with Iscandar,” he responds.
“Our home, Dezarium, is still too far away. In order to transport a whole planet, we have to repeat a jump in the current space-time.”
Deda has a visceral reaction to this fact, quickly shifting to determination.
“For the millennial dream of Dezarium…” Deda begins.
“…Iscandar is all we need. We don’t need the noise,” Meldarz finishes.
[KC]: That sounds very ominous, and not about the music anymore.
[AMB]: Just like the noise they’re trying to eliminate from their scratchy records, so too do they consider Melda to be noise, an unforeseen straggler who survived the destruction of Garmillas. To return to Dezarium proper, they need to perform two jumps in the current space-time. As we’ll find out later, the first one required the energy amassed from the destruction of planet Garmillas, so they’ll need to destroy at least one more planet in order to return ‘home’.
What could this millennial dream of Dezarium be? And why does their faction deem it necessary to eliminate the refugees on the ground, rather than just bring them along? Surely some slave workers would be nice to have in your pocket? At least Gatlantis seemed to think so near the end of 2202, when they began subjugating Earth.
[KC]: Definitely more of a cosmic horror vibe here, regardless of any genuine interest they may have in older music from other races. These folks have a plan and the rest of us are of no consequence.
[AMB]: Some of us aren’t even on their radar, as we’ll soon find out.
In Iscandar’s airspace, Melda does her best to establish contact with Deda, piloting her red Tsvarke. She asks herself where this dying planet has been transported to, but is cut off by intercepting Dezarium fighters. Small, nimble and impossibly flexible, these wasp-like pods at first appear to hound Melda without remorse, but their true targets are the refugee ships docked in the freezing ocean. Men and women alike are swatted down by this deadly force, but before the retired Vance can bite the dust, Hilde Schulz valiantly saves him.
Witnessing this onslaught, Melda goes on the offensive with some initial success, but soon enough gets overwhelmed by a trio of Caterpillars landing a hit on her right wing. Unfazed, she comments on the vexing nature of these assault fighters.
[KC]: Very good to see Melda involved in things once again.
[AMB]: Hilde too, seeing as her character has been pretty much dormant since the 2199 days. A Zaltzian saving a Garmillan, how about that! Perhaps expectedly, Melda still hasn’t parted with her red Tsvarke in five or so years since Garmillas began democratizing. These Garmillans sure have a soft spot for their specialized machinery, don’t they?
[KC]: Maybe she’s no different than your average human who loves their vehicle, or maybe there’s some greater significance? Talan seemed pretty embarrassed about Dessler riding around in a red flagship instead of a blue one. Do colors mean something more in their culture, or at least have some specific military significance? I’m almost certainly reading too much into this.
[AMB]: You might be onto something there. Perhaps red is a commoner’s color, something Melda chose herself. Standard-issue Tsvarkes are green, and Keyman’s was white/purple.
On the mecha:
The Dezarium wasp-looking assault fighters are referred to by the designation “Caterpillar” in the mecha guide, owing to soldiers calling them “caterpillar-shaped fighters” due to their unmistakable silhouette. They’re apparently manned ships, but the veracity of this claim is questionable due to their insane mobility that would no doubt endanger a biological pilot. In that sense, they follow the design principles behind rumors and conspiracies spread throughout the 19th century about UFO’s and their maneuvering, which regularly break the laws of physics.
The Tsvarke is a familiar sight to both 2199 and 2202 fans. It is still the vehicle of choice for Melda in 2205, as was an embassy variation piloted by the dearly departed Klaus Keyman in 2202. Usually green, Melda chose the personal color red, inferred to be a meta homage to Mobile Suit Gundam’s Char Aznable, who popularized the anime meme of painting his mecha red. Since no new specs are divulged for Melda’s Tsvarke in the 2205 complete guidebook, we’re to presume it’s only seen rare usage, if any, since her position as ambassador on Iscandar was formalized.
It’s also worth mentioning here, albeit somewhat belatedly, that animation production for 2205 was not handled by studio XEBEC this time. Due to financial troubles, XEBEC’s future was uncertain until anime conglomerate Sunrise bought XEBEC and gave them the new name Sunrise BEYOND. The studio and its founder Nobuyoshi Habara (Chief Director of 2202) were immediately given the opportunity to produce an original mecha anime called Kyoukai Senki (Border Wars), which was recently greenlit for another season, so congratulations to Habara-san!
Unfortunately, this meant that the studio was unavailable for 2205, leading to anime studio Satelite being hired. The reason for this tangent is to express that I believe some compliments are in order, because the beauty on display here is stunning. Every aspect from the close-up facial shots, to CGI, and background designs… it’s all top notch! Most of this is owed to staff members returning from previous productions, but still! As of this writing, 3199’s production studio of choice – and director – have not been revealed.
Off in the distance, Dessler’s vanguard (led by Berger) arrives to provide backup for Melda.
“Finally caught up, huh?” Berger exclaims, “All ships, begin anti-aerial combat! Drive them out!”
Not even these nimble beasts can dodge the thick web of fire Berger lays down. Before any Dezarian stragglers manage to escape their doom, Frakken’s Dimensional Submarine arrives to bat cleanup, launching a cluster torpedo.
“Act as a shield for the migration convoy. Don’t let even one ship get through!” he orders.
[KC]: And now my favorite Garmillans will issue a beat down. I love to see it.
[AMB]: Team Garmillas is growing by the minute, with Melda joining the fray! This scene of a royal attendant flying a dinky fighter to protect Starsha, only to be saved last second by allies from her home planet isn’t new either. In The New Voyage, Mamoru was originally supposed to fill Melda’s role here, to later be aided by Sanada in a show of brotherly love. The scene was, among many others, cut due to time constraints.
The BGM playing here is titled Reinforcements Arrive. It’s a quintessential piece of the original Yamato score, remastered for the first time since its reintroduction in 2199. In the original series, it bookended Yamato’s departure from Earth, lending it a soundscape of pure military might.
But this isn’t the first time we’ve heard the track in the reboot. In Age of Yamato (the 2202 compilation), director Atsuki Sato’s musical choices were picked to align better with how the original two Yamato series/movies were presented. Instead of Yamato Departs from the Earth, playing for the departure scene – as it did in 2199 – a decision was made to use what is now called Reinforcements Arrive. However, while the track was featured in 2199, it hadn’t been re-recorded yet. This was a practice that began with Ark of the Stars, when composer Akira Miyagawa chose to not only compose, but also conduct the iconic Yamato score for the recording process.
The track in question was conspicuously absent from the 2202 score, meaning it had to be added to the 2205 sound recording schedule. Same goes for Infinite Expanse of the Universe, which likewise featured in its remastered form in Age of Yamato. Thus, it also came to be included in the 2205 score’s CD release. Convoluted, I know, but that’s just how it is with Yamato production history!
Read more about Age of Yamato production with director Sato here.
In the atmosphere, Dessler manages the counterattack aboard Deusura III. Talan points out that the enemy fleet’s begun to move, and at this rate, Berger’s fleet will face a bilateral attack. He proposes they preemptively eliminate the incoming force with the Dessler Cannon, but Dessler rejects it on the basis that such a destructive attack would undoubtedly wreak havoc on the migration convoy in the sea.
One of Dessler’s imperial guards relays an emergency message from Melda.
“Your excellency… your excellency Dessler…” though wearing her helmet, the young lady’s voice is immediately recognizable to Talan, who asks where she currently is. “I’m engaged in combat. Your excellency, please contact Lady Starsha. She’s refusing to evacuate. Please hurry!”
[KC]: Well, well, well. Eschewing one of the mega weapons named after you out of concern for civilians? Granted, they are your civilians, but still. I’m proud of you, Your Majesty.
[AMB]: A clear allusion being made here to his choices at the end of 2199. Self-reflection of this kind is much appreciated.
Another curiosity is the level of familiarity between Melda and Talan, both of whom last saw each other at the end of 2199, when Talan vowed to search for his departed brother. As an apparent close ally to Dietz, it’s not too strange to imagine the younger Talan having known Melda from a young age, and I very much look forward to seeing if kernels of their connection will be explored in 3199. Something else important to point out is that Melda, like Hyss, refers to Dessler by his imperial moniker. It appears she too has some faith in the man.
[KC]: It’s a shame that we never got to take the deep dive into the Talans (and their loyalties) that I’ve so wanted since 2199, but perhaps we can piece together our own story with the subtle interactions we continue to see.
[AMB]: It’s easy to miss, but I appreciate the slight apprehension you can see on Abelt’s face here when Melda tells him to contact Starsha. Last time they spoke, he essentially told her off before trying to drop his new city on his old capital.
[KC]: *Cue sweat beads on Abelt’s forehead.* What if she won’t answer?
[AMB]: Less heartache that way.
[KC]: He has no idea.
Inside the palace, Starsha averts her gaze from the ensuing battle. Yurisha mentions that there is a way to save them all.
“If we let them undergo the ritual so they can be accepted at Sanctel, as Melda has suggested…” Yurisha begins to offer her alternative, but is cut off by her sister.
“Do you know what it would mean to put a human life through that ritual? Yurisha, you are too young to grasp what it means.”
“But at this rate, everything will be lost! Sister, that’s not for you to decide!” After this failed appeal to Starsha, Yurisha turns to a capsule of light, similar to the one that used to house Mamoru Kodai’s soul. “Sasha has been kept like that because…”
[AMB]: The BGM that starts playing here is called Feelings Fade Away (piano solo). It’s a subtheme for Starsha and her daughter Sasha in The New Voyage, which makes this a fitting place to reintroduce it. However, this time around, it appears the pod has some remnants of the original Sasha’s soul, from 2199.
[KC]: So while there was certainly at least a hint in 2199 that a future Sasha would be the product of Starsha and Mamoru, that no longer seems to be the case. We have gotten a little bit more, at least, than last episode, when denying the refugees access to Sanctel seemed more like a decision based on bigotry.
[AMB]: At the very least, Sasha won’t be completely disconnected from her aunt this time, other than the obvious name tribute.
The continuation of this discussion will be presented to us in Episode 7, but it’s worth covering some pointers here: to enter Sanctel, a ritual is necessary. You lose some fundamental parts of your humanity by committing to it, of which the young Yurisha is woefully unaware due to her lack of experience with the passage of time and its cruelties.
Fundamentally speaking, the two sisters have differing views on what it means to “save” sentient life. Starsha believes that to live and die is a natural process, and that spiritual salvation is more important than the physical kind. Yurisha, on the other hand, knows that the ritual to enter Sanctel can ‘save’ the refugees from death in a more permanent manner… but at great cost. Keep this in mind as we move forward.
Back at the Yamato fleet, various crew members express their concerns with what’s going on in the universe.
Aboard Asuka: Nagakura takes note of Raiden arguing with an off-screen Sakamoto that Yamato should aid Iscandar by using the Balan space gate, seeing as their fleet is the closest and because Earth owes Iscandar for gifting them the Cosmo Reverse System in 2199. Sakamoto calls her a simpleton. Elsewhere, Yuki overhears two mechanics argue over the political ramifications of Garmillas’ destruction as they work on constructing a new spacecraft.
“The issue is, who blew up Planet Garmillas.”
“If it was the Bolar Federation…”
“…our technology exchange with Garmillas will be cancelled.”
“We’ve come this far to assemble this.”
[KC]: Our relationship with Garmillas is…complicated. Lots of justifiably conflicting feelings there.
[AMB]: Unfortunately true. Young moralists like Raiden want to immediately enter the fray, but the ramifications of such a decision are too immense to ignore. If the unknown enemy that annihilated Garmillas is the Bolars, a huge intergalactic conflict will immediately commence if Earth aids their allies. This means any tech licensing – as mentioned in Episode 1 – could be cancelled.
Speaking of, the mechanical beast on display in Asuka’s hangar should be familiar to fans of Yamato III. It’s the Cosmo Hound, originally a new exploration craft introduced in the third series. Huge and bulky, it could fit a few dozen crew members with no trouble. For 2205, our first glimpse at this machine came with a rapid series of concept images revealed at the 2202 Close To You Tonight concert (October 2019), and what a surprise that was! This time around, the name Cosmo Hound has a stronger meaning attached to it, related to the aforementioned Garmillan technology exchange. More on this down the road.
Aboard Hyuga: Two mechanics working on the Cosmo Pythons discuss the Earth-Garmillan security treaty. One argues that it should technically bind Earth to assist their ally, but the other says treaties can easily be broken. Shinohara and his fellow co-pilots overhear the hopeless conversation, equally dejected.
“If we try to save Iscandar,” one mechanic adds, “Earth might be caught in a war between Garmillas and Bolar.”
“It’s time to give up?”
“Earth has been hit by disasters, so we can’t afford to get involved in others’ battles.”
Captain Sanada, meanwhile, is in deep thought on the bridge.
[AMB]: The tricky nature of defensive alliances such as the 1837 Treaty of London (which guaranteed Belgium’s independence prior to WWI), the Warsaw Pact (a collective defense treaty signed between the former Soviet satellite states in the 50’s), NATO (the premiere western defense treaty organization), and the most relevant for the Japanese: the Treaty of Mutual Cooperation and Security between the United States and Japan, is that they are only de jure (on paper), rather than de facto (in reality) guarantees of mutual defense in military engagements.
A prevalent topic of discussion amongst the Japanese people to this day is the enforced ban on a formalized Japanese military, imposed on the country by the U.S. at the end of WWII. This ban has ups and downs we won’t get into, but essentially, it neuters Japan’s self-defense capabilities in exchange for a de jure guarantee of permanent military aid from the U.S. What the Treaty of London and others like it have shown throughout modern human history however, is that a guarantee of defense most often only results in guarantee of avengement, rather than protection. Belgium was left to its predicaments in both world wars, defended by none and used as a casus belli by other nations to enter into both world wars at times of convenience. Yesterday’s guarantee won’t always hold water tomorrow, after all.
Aboard Yamato: Domon listens in on a conversation about the refugee topic, as discussed between his class alumni Bando, Tokugawa, Miyako and Sakamoto. Miyako argues that since most refugees seem to have landed safely on Iscandar, we have a moral obligation to save them. Bando reasons that the enemy has the capacity to move entire planets at will, meaning combat will be unavoidable, something the current peace-promoting EDF HQ won’t approve. Sakamoto clicks his tongue in frustration.
“We just pretend not to see?”
Inside his cabin, Dr. Sado drinks away his own unspoken thoughts alone.
[AMB]: Poor Sado. In a different time, in a different place, Analyzer would have been by his side right now.
[KC]: He has no kitty, either. Things are definitely not as clear-cut as they were the first time. Or even the second.
[AMB]: Or, if we’re to account for the two interplanetary wars with Mars – the fourth time! And on the topic of the cat: at least 2202 depicted a short, sweet moment where he shows off his new kitty to Yuki. Maybe he let her stay behind for this shorter voyage.
[KC]: Perhaps she’s off making a mischief!
[AMB]: One can hope!
On a heavier subject: In a way, it’s not too difficult to draw a parallel between this refugee situation and the disastrous pullout of US troops from Afghanistan, where civilians, service dogs and military goods were abandoned in the rush to leave the country. Morally speaking, one could probably make the argument that the US should take back what was left behind, but it’s a geopolitical quagmire that sadly remains unresolved.
Works like 2205 makes us ask questions the nature of short, swift military conflicts and their often disastrous consequences. What of the refugees that have been created and abandoned in war-torn Syria, Iraq and Libya? Morally, we might feel inclined to dash in and help as many as we can, but the possibility of entering into another armed conflict where our servicemen could lose their lives is a real one. In an October 2021 interview, Head Writer Fukui commented on how the real-life happenings of our time helped inform the development of his script:
Is 2205 a “prediction of the future,” connecting to the present day Corona pandemic and the Islamist Taliban seizing power in Afghanistan? The work is so linked to the times that it feels that way. Mr. Fukui revealed that he finished writing the script before the Corona pandemic began. The film seems to be linked to the present day as a result.
“The content of the film is strangely geared toward today’s world,” Fukui said. “What can we do to encourage people to stand up again when everyone is down on their knees? What do we say to that? What is the purpose of human life? In the past, it was unquestionably for development and happiness. But now, when we are confronted with the cost of that development to this extent, I can no longer honestly say so. But some things are non-negotiable in order to be happy.”
Read more here.
Tokugawa pulls out a wallet with a photo of him, his father Hikozaemon, and his younger sister Aiko. They’re standing in front of Yamato, smiling and posing with peace signs under a clear sky.
“Father, how would you talk to ‘big bro’ Yabu? He used to visit us, right? He’s a clumsy but kind person. This is just too cruel for him.”
Yabu has secluded himself in his cabin, staring at a holographic photo of his own family, their status unknown.
[KC]: Yabu’s expression here is heartbreaking. I wanted a spinoff sitcom of his wacky hijinks on Frakken’s sub and now he is living a nightmare.
[AMB]: A nightmare that will end soon enough. And hey, just because he’s been lent to Yamato doesn’t mean he won’t return to Frakken’s command in the future!
I also want to make note of the photo in Tasuke’s hand. His kid sister Aiko was last seen in 2199, barely able to speak when she and Tasuke made a space call to old man Tokugawa. In 2202, we received a sweet image drawn by Michio Murakawa for the fifth ED sequence, depicting her last joyful moments with her grandfather, somewhat grown up. Here, we see the trio under cloudy blue skies, standing on fertile ground in front of Yamato. This indicates the picture was taken after Yamato arrived home at the end of 2199, a wholesome reunion.
[KC]: More of that story-enriching, subtle background content we keep talking about.
In the Captain’s Cabin, Shima and Yamanami petition for Kodai to share his thoughts with the rest of the crew.
“The space gate is right in front of us. The situation is time-sensitive. Everyone’s on edge, and this voyage is at risk of being cancelled altogether. What should we do?”
[AMB]: Kodai questioning whether or not to pursue Iscandar originates from yet another deleted scene in The New Voyage. Fancy that.
An exasperated Yabu makes his way to the hangar’s spare Fireboat, towing heavy luggage. Tokugawa intervenes, imploring him to stay with them rather than break military regs by stealing a ship to desert. The luggage is knocked aside in the ensuing struggle. Bando, Miyako and Sakamoto all enter, urging Yabu to see reason.
“What’s with you guys? I’ve gotta go!” yells Yabu. Miyako tells him that it’s suicidal to go through the subspace gate in a landing boat. As if to rebuke her, Domon appears, mentioning that there is a way as he’s taking note of Yabu’s luggage.
“This is a prototype core you’ve been building on Asuka, isn’t it? Yabu, you’re stealing a prototype.”
Yabu bites his lip, unable to respond.
[KC]: Yabu is a thief like Jean Valjean is a thief. For those who may not get the Les Miserables reference, he commits a crime in a desperate attempt to help others, not to benefit himself. Also, mine is definitely more of a “chaotic good” sense of morality.
[AMB]: I saw an animated adaptation of Les Miserables produced for the World Masterpiece Theatre collection. Your assessment is spot on.
Yabu’s role and relationship to the Tokugawa family came as somewhat of a surprise, but not completely out of nowhere. In 2199, Tokugawa repeatedly referred to Yabu as his prodigal student, describing him as a boy who was simply a bit shy and cowardly, but basically decent. Young Tokugawa repeats this sentiment, expressing familial love for someone who was like a big brother to him as a child. Unfortunately, the one Earthling who seemed to know how to handle and engage with Yabu lost his life in the war with Gatlantis, meaning it’s well within Yabu’s character to resist Tasuke here.
[KC]: Right now, Yabu has nobody. And Tokugawa’s description of him as a boy seems pretty spot on for the adult Yabu as well.
[AMB]: To build on previous mentions, let’s hear some more of what voice actor Cho has to say about Yabu, whether or not he’s changed, and what matters to him as a character:
“I don’t think Yabu has changed at all. He thinks hard at each moment, makes decisions to live, becomes a prisoner of war to live, and uses the skills he knows to live. And somehow he found a family he met there in order to live. I think he felt the warmth of being with them because it was better than being alone. There, he felt the sense of “living,” and he continues to live for his family.
Then he boarded a Dimensional Submarine as he was ordered, and came back to the Earth side this time to teach some technology. In the end, he has no choice but to live within the confines of what he was told. He has to live. That’s the basic premise. It’s not cool or anything, he’s just struggling to get by.
At first, he felt like he was the only one who mattered, and because of that he tried to rebel and survive. Because he felt important, he managed to get by on Garmillas. And when he found a family, I guess he went in a different direction and started to realize that his family was more important, so he started to live for his family. I think even Yabu himself is surprised by it.”
Read more here.
Domon continues: “It can help get you through the gate. But then what? Even if you’re lucky enough to reach Iscandar…” he’s cut off by Yabu.
“I don’t care about that! There’s no place for me here. No, I never had one. That’s why I went to Garmillas. I finally found my place! My family! Why was a useless dork like myself even born?! What purpose do I even live for?! My family gave me all the answers! With them is where I belong!”
Yabu, no longer held back by the young students, trudges toward the fireboat, luggage in hand, muttering desperate mantras with tears forming in his eyes.
“I can’t lose them. I won’t allow that to happen. They must be alive… I’ve got to save them…”
[AMB]: Yabu, please, you’re breaking my heart. Any past indiscretions are forgiven. Just don’t get yourself killed!
[KC]: This whole moment in the hangar bay is a fantastic, highly emotional scene. I like that so much is going on with these secondary and even tertiary characters. I think even to say that is a particularly American concept, since our space operas largely focus on the bridge crew/a handful of key players to the exclusion of everyone else.
[AMB]: It’s as impressive as it’s oppressive. The industrial sounds of machinery coming from the heart of the ship, mixed with the compressed air, lends a similar auditory sensation to the scene as when you walk through the quietude of a snowy small town. It reminds us that the only reason Yabu is leaving is because the ship’s heart has eroded. It has become mechanical.
In the past, the ship might have immediately dashed to perform a rescue operation, just like in 2202’s sixth episode on the 11th planet, where the crew disobeyed orders from EDF HQ to not interfere and let the politicians sort it out. Fitting then, that this is the scene where the BGM track Sorrowful Yamato has its first outing in 2205, as Yabu screams out how nothing’s more important than saving his family from certain death. As becomes quickly apparent, that line strikes a deep chord in Domon’s heart.
Of course, there’s another parallel being drawn here: just like in 2199, Yabu aims to become a repeat offender by attempting to steal a landing vessel to rectify Yamato’s inaction.
[KC]: I definitely judge Yabu (or don’t, technically) through my biased filter of loving how he wound up serving on the Dimensional Sub with Dessler’s least uptight crew.
[AMB]: As do most of us (probably).
Tokugawa gets in the way again, attempting to impart some positivity to Yabu.
“You’re right. They must be alive. When your family is found, you have to be there for them, right Yabu? Please calm down and…” he’s cut off by Domon, overcome by his own emotions.
“Just stop it. Reality is cruel. The worst always happens. Honest but clumsy people always become the target, especially those fools who keep everything to themselves until they die. Let him do whatever he wants. We all become desperate.”
[AMB]: Unlike in western culture, where silence is often considered uncomfortable, within Japanese culture, silence is a virtue. This concept, where culture decides how silence is viewed, is referred to as Chinmoku (沈黙). It’s so culturally prevalent that some Japanese are believed capable of implicit telepathy, referred to as Ishin Denshin (以心伝心). High class Japanese culture avoids direct verbal expression, especially in negative situations, because this Ishin Denshin concept is believed to smooth out what is left unspoken.
Sadly, this sometimes leads to important things being left unsaid, and the kind of silence where you’re both reserved and show immense restraint, Enryosasshi (遠慮お察し), is the worst offender.
It’s what led to Domon being left behind without proper closure, unsure of what his father’s death meant or why it happened in the first place. And it’s what gave rise to his transformation from a jolly, happy do-gooder, to the broken shell of a boy he is now.
[KC]: Talan never talking about any of the things I want him to talk about makes a lot more sense now.
[AMB]: It’s going to take some miracle to force him to vent with Dessler, who’s essentially his boss and religious icon. Unfortunate for us, but business as usual for them. In fact, there’s a quintessential Chinmoku Talan moment coming up at the end of Episode 7 that will be exciting to talk about!
[KC]: I know, I can’t wait to get to it!
Tokugawa tries reaching out to Domon using his surname, but fails. The boy’s words keep everyone frozen in place until Tokugawa finally intervenes, throwing a straight sucker punch at his friend, knocking him to the floor.
“Don’t talk like you know!” Tasuke retorts. “What’s wrong with you? Why did you sneak aboard Yamato then? You wanted to test Captain Kodai, didn’t you?” his friends try pulling him away from Domon, but to no avail. “You wanted him to prove he’d be worthy of your father’s death and the future of Earth! No one can do that! If you had given up hope in people, you wouldn’t have tested the Captain!” Sakamoto and Bando finally manage to pull Tokugawa away. “You have hope, right?! You haven’t given up, have you?! It’s the same for us!”
[KC]: Again, powerful stuff here.
[AMB]: These youths all feel betrayed by their elders, to various extents. They all want to do what Domon does, to simply give up and succumb to pessimistic nihilism, but they can’t do that in good conscience. Domon falsely believes that one man can shoulder the weight of the entire world because that’s the cult of personality that seemingly formed around Kodai during his tenure aboard Yamato. He helped save the universe from intergalactic devastation, after all! And if his life was exchanged for Domon’s father’s, then surely that means he has to fill his father’s shoes for Domon’s sake. At least that’s what Domon seems to go for here.
[KC]: It may seem that way sometimes, but Kodai didn’t go it alone.
[AMB]: I’m not sure he’d ever have made it so far going at it alone either.
Domon finally snaps, curling up. Miyako expresses her concern, but it falls on deaf ears.
“Enough. I’ve seen enough. I’ll leave Yamato. Coming here was a mistake. Just put me in a cell. That will save you some work, right Hoshina?”
On cue, Hoshina reveals his presence, taking Domon into custody.
[KC]: Offering to incarcerate himself, just like Keyman did. I don’t know that there is any more to the parallel other than they are both noble young men who are willing to accept the consequences of their actions…and maybe a little emo about it.
[AMB]: And they both lost their fathers due to misguided patriotism, leaving behind families to mourn their passing!
[KC]: You see that? Abelt’s doing such a good job of being Dessler these days that I almost completely forgot about Mattheus!
Meanwhile, a meeting is held between Earth’s Peace Corps and the respective Captains of Asuka, Hyuga and Yamato. Serizawa informs Kodai that his appeal to aid Iscandar is an impossible prospect, given that intervention equals conflict, which endangers Earth’s future. Yamanami agrees, then points out that even Burrel understands Earth’s position.
“Ambassador Burrel understands that… even though he doesn’t know his family’s situation.”
Burrel simply sits there, eyes closed, unable to face the Captains in front of him.
[AMB]: Burrell is a man of both virtue and pragmatism. Even though his heart is likely screaming at him to beg Yamato for aid, he too understands and respects the predicament an intervention would place Earth in. Also, it turns out Burrell has his own family. We don’t know if this means he’s happily married with children, or if he’s simply taking care of his old folks, but it’s news to us! Hopefully some of them made it out of Garmillas alive.
[KC]: If Burrel gets a backstory before Talan, I’ll riot.
[AMB]: “A revolt has already been prepared. Please return as soon as possible.” Gimleh has already roused the national guard… (the quote’s from Episode 16 of 2202, where Gimleh announces a failed coup. Doh!)
[KC]: Do I really have to work with that guy? I hope he saved some of those cool pointed teacups, at least.
[AMB]: Yamato’s merch department lost out on not mass-producing those novel designs. The future depicted in the show came and went!
Kodai takes all this in, then faces the ambassadors with renewed vigor.
Inside an elevator, Domon thanks Hoshina for letting Yabu off the hook, to which he simply states he saw nothing. Apparently, Domon has to tender his resignation to Kodai personally for it to have an effect, even if Kodai is busy with a meeting. He says he understands, but Hoshina doesn’t think so.
“Do you really? You think you know… but you haven’t seen anything, or heard anything yet, for that matter.”
A forlorn expression creeps onto Hoshina’s face, surprising Domon.
[KC]: Hmmm. Does he presume that Domon is going to suffer the usual consequences, or that Kodai will do something reckless?
[AMB]: In this scene, Hoshina fills in for Hirata in a loose adaptation of a memorable scene from Yamato III. Back then, Domon felt lost and confused about what it meant to be a Yamato crew member, and questioned Kodai for being such a hardass on his new crew. Hirata reveals who their Captain truly is, allowing Domon to see that even after a 16-hour training session that exhausted everyone else, Kodai was still engaged in rigorous focus training, all alone. His inner self and outer self were completely different, and this helped better inform and motivate Domon to do better.
Hoshina gives Domon the chance to eavesdrop on Kodai’s secret meeting. Kodai’s begun a speech.
“70% of Earth’s population was lost because of Garmillas attacks. 70% of the Garmillas people were lost due to the destruction of their home planet. What should we chalk this coincidence up to? Karma? No, that’s not a word I’d use for it. To me, this seems to be some kind of sign. Both Earth and Garmillas are equally scarred. We have to leave the past behind and help each other in the truest sense.”
[KC]: He’s not wrong, but how many sitting there will agree with him?
[AMB]: In their heart of hearts? All three. On a purely realpolitik level? None.
It’s quite shocking to finally get an estimated death toll. That said, the 30% of the Garmillan population which managed to escape certain death does not account for those who crashed on Iscandar. Of this we can be certain, thanks to Talan’s estimate in Episode 2 of “a third of the population having evacuated.”
The karma Kodai speaks of here is quite different from the concept of karma Teresa spoke of in 2202. There, the term 緣 (en) was used, which denotes a harmonious force that binds us together, rather than the negative usage of karma found here.
Something else worth pointing out is that Kodai’s breaking a very strict taboo in Japan by speaking up at this meeting. Generally speaking, the Japanese apply the concept of Nemawashi (根回し, ground work) in business settings, meaning they key everyone in on decisions to be made before meetings – rather than making decisions during meetings – to avoid awkward confrontations and discussions. This custom is similar to the western political norm of “spadework,” where opposition figures advertise their intentions before meetings, to rouse public opinion. The key difference here is that while both our models give decision-making authority to CEO’s and generals, this authority is only nominal in Japanese high society due to cultural differences where social cohesion and harmony is preferred over dispute and indignancy.
Kodai’s quite the corporate rebel here, knowing full well that a decision’s already been made regardless of his input.
[KC]: That’s a really interesting insight, thanks! I would love to be able to apply this to meetings at my own place of employment, where people seem to use meetings to intentionally not come to a decision.
[AMB]: Amen to that.
The room is dead quiet. The only one directly meeting Kodai’s gaze is Serizawa. Yuki casts a concerned glance. The Captain continues.
“The time is now, when everyone’s feeling anxious. We shouldn’t make decisions according to our own convenience. There are many humanoid life forms in this universe. They’re not for conflict, but for inspiration and improvement. At least, humans believe so and act…” He’s cut off by Serizawa, who rebukes him.
“Captain Kodai. Is that an insight you gained in the higher dimension?” Kodai stops to think for a second, then reveals that he still has no memory of anything that happened in Teresa’s dimension, a fact that apparently gives Yuki great sorrow.
“I see. In the higher dimension, they say all timelines exist in parallel. If you remembered anything, you could see the future.”
Outside the room, Domon’s teeth start to grit in frustration.
“In this world, everything is undetermined. Even if you think you’re right, we can’t take any risks. Especially when the Earth ambassador with plenary powers, the Garmillas ambassador, and the fleet commander, who operates the entire Earth force, are onboard Yamato…”
There’s clear conflict on Yamanami’s face. Serizawa, his tone of voice much darker now, stares intently at Kodai. “…no matter what.”
Kodai swallows his pride, unable to offer a response.
[AMB]: This is Kodai’s JFK moment in the reboot, hands down. He even appeals to the base equality of all humanoid beings originating from Akerius, not only Earthlings.
[KC]: At first, I thought Serizawa was going to scoff at the notion, but it turns out the lazy turd is just looking for a deus ex machina.
[AMB]: I genuinely believe the man has turned to spiritualism/Zen Buddhism since the Teresa event. An amalgamation of human concepts of harmony and peace manifested in front of everyone’s eyes, destroyed the Ark of Destruction, and brought back Yamato with Kodai and Yuki from certain death. He probably wants to believe once more in the correctness of Kodai’s belief, but if this key decision leads to more war and death, I’m not sure Serizawa – who in part helped facilitate the wars with Garmillas and Gatlantis – could live with himself.
Which is why he appeals to the science of 2202’s otherworldly Teresa dimension to see if Kodai’s found a way to make everything right without endangering Earth once more. In that respect, let’s review how the technicalities of her realm work within this universe and story, since we finally have some more hard data on this topic. Let’s turn to our trusted SF researcher Shinya Ogura once more…
“To explain it roughly in order, according to theoretical physicist Lisa Randall, gravity penetrates through dimensions from the viewpoint of physics. If we had something that could penetrate dimensions like gravity, it would be possible for a ‘higher dimensional’ Teresa to combine her power with Yamato‘s crew in the ‘real dimension.’
There are various ideas about how many dimensions there are, but here we deal with 11 dimensions since Mr. Kano went with M theory (M = Membrane) which unifies superstring theories where elements are affected by the vibrations of ‘strings.’ We can’t see these ‘surplus elements,’ which fits in well with the ‘higher dimension’ in which Teresa resides.
[AMB]: In short, the tree of golden strings in Teresa’s dimension represented membranes of different dimensions/timelines. Within her dimension, Teresa (and for a time, Kodai, when he saw a baby hand reach out from Yuki’s stomach to hold his) are able to see what path each timeline is headed in by observing the membranes. When Kodai almost decided to stay behind in her dimension, the whole tree of membranes began to fall apart, as if such a momentous decision was going to affect the past, present and future of all timelines.
Thankfully, Kodai was saved by Yuki and Yamato’s crew, but his memories of Teresa’s realm are all gone, meaning he can’t recall whatever hints he saw about the future. This is why Serizawa presses the topic. In fact, Yuki’s sadness here is probably indicative of the fact that she remembers seeing the child she’ll share with Kodai (which 2202’s director Nobuyoshi Habara said would be one of two children). She’s finally experiencing what Kodai went through in 2202, having a semi-amnesiac partner. It’s a sad turn of events, really.
Read more here.
[KC]: You have always been far more forgiving of Serizawa than I, but I happily accept your interpretation.
[AMB]: I’m probably his biggest fan on our side of the hemisphere, as you are Talan’s most loyal supporter in the same realm. Cheers!
[KC]: Kanpai!
Outside the meeting, Domon begins to march his way out of there, full of indignation.
“So stupid,” Domon mutters. “Everyone’s so stupid.”
Hearing this, Hoshina can’t help but flash a smirk.
[AMB]: Surprising no one, Serizawa reveals that Yamanami’s been promoted to commander of the entire Earth fleet since 2202. Quite the step up!
[KC]: When Hoshina smirks like that it makes me wonder if we’re supposed to interpret his earlier gaze at the floor as forlorn. Perhaps he just didn’t want to reveal anything to Domon in his expression.
[AMB]: Experiences and feelings aren’t easy to impress upon others, especially young adults. Who Kodai is, and why, has now been revealed to Domon. Having played a behind-the-curtains role ever since 2199, Hoshina’s fully aware that none of Yamato’s Captains have been cowardly or stupid. They’re just walking the very fine line between military orders and idealism. In fact, I’m quite certain his smirk here could be indicative of him feeling some nostalgia for the 2199 days when Kodai filled Domon’s shoes.
[KC]: The whole crew shares this spirit, as we will soon see.
In the medbay, Tokugawa, Miyako, Bando, Raiden and Sakamoto have joined up to relax. Bando’s studying, Raiden’s lifting weights, Miyako’s fidgeting by herself and Sakamoto’s playing with a not-Nintendo-Switch handheld console against Tokugawa. Apparently it’s an RPG where Tasuke plays the role of healer. Sakamoto asks if Caroline will be late for training on Asuka by sticking around, but she counters that it’s probably cancelled in light of all the news spreading. Something else irks her more.
“Next time you call me by that name [Caroline], I’ll kill you.”
[AMB]: She probably won’t. In fact, I’d wager she appreciates sharing something special like her surname with Sakamoto. It’s a sad fact of life that handheld Nintendo fans never got the chance to buy a 2205-themed Nintendo Switch. Missed marketing opportunity!
[KC]: Ah, the age-old trope of verbally sparring with a future love interest. Or do you just think this is general camaraderie? And we already know what I think about Yamato’s missed marketing opportunities.
[AMB]: Going by the reboot’s track record, any confirmation of true love between this pair of sewer rats is likely only ever going to show up in extraneous setting material. Then again, they are presented with a group of characters framed as Yamato’s next generation, so it’s not impossible we’ll get a Hoshina/Yuria-esque or Makoto/Kato-esque romance arc with them in 3199.
[KC]: Romance is relatively intrinsic to space opera, and they can’t just keep focusing on Kodai and Yuki forever…can they?
[AMB]: With how poorly Dessler’s romance pans out, they sure can.
[KC]: True. Feeling a bit silly for thinking he might get to wind up with Starsha this time around.
[AMB]: Too soon. Wait, I mean too early!
Breaking the leisurely pace is Domon, barging in to beg his friends for their assistance with something. He informs them that while the original plan was for their fleet to warp using the Balan space gate, this operation has been cancelled, meaning they have to intervene in some way to make the trip happen.
Later on, Defense Fleet 65 arrives outside the Balan space gate closest to our galaxy. All three captains, alongside Burrell, inform three Garmillan contacts in charge of the gate that their fleet’s been recalled and the trip to the Great Magellanic Cloud is cancelled. Burrell tries to smooth things over.
“Men, I understand your feelings, but on the Earth side…” and that’s when Yamato’s shipboard alert system goes off. There’s an abnormality in the Wave-Motion Engine!
[KC]: Saved by the alarm, Burrel.
[AMB]: One of the three Garmillan officials here appears to be Lieutenant Brigadier Kaulles Helder, a friend of the Dietz family who was arrested by the Imperial Guard on (presumably) phony charges in 2199’s 19th episode. Of all the characters to confirm as a survivor, they chose him.
[KC]: Interesting catch! I wonder if there is any thought behind it.
[AMB]: I sure hope so. These pre-established Garmillans deserve some spotlight.
Yamazaki yells over the comms at Tokugawa, asking what happened in the engine room. Apparently, the energy condenser’s begun to melt down ‘for an unknown reason.’ Once that lie’s been reported, Tokugawa nods at his young assistant Tetsu, informing us that there’s a scheme in the works. Narration from Domon confirms this.
“Tasuke’s job is to tamper with the Wave-Motion Engine. Bando will re-write the damage control information, making the engine look like it’s out of control.”
Elsewhere on the ship, Miyako plants some smoke machines to mimic real ship damage. She calls out to the incoming Hayashi and Nishina, both running to assess the damage. But they’re too late.
“Fire in the engine room! I’m sealing the doors!” yells Miyako, closing the door on the two men.
[AMB]: As some of you immediately noticed, this sequence is an immediate payoff to the training scene in Episode 2. The kids are putting their new skills to good use.
[KC]: What’s this? Shenanigans?
[AMB]: It’s a youth riot! Quick, let’s draw the obvious parallels to 2199’s Izumo rebellion, as well as the 2202 Yamato revolt! The kids are walking in the footsteps of giants without knowing it. Maybe those two rude fellows were right about Yabu last episode. He did end up being a subversive element!
[KC]: Hah! This has been too prevalent in Yamato for too long to be Yabu’s fault.
[AMB]: Touché!
Domon’s narration continues as the ship begins to power down: “We just need 10 minutes. Shut down access to the engine room to gain control of Yamato’s thrusters. Once the ship enters the gate, we have no choice but to go forward. Once we get to Iscandar, we win.”
Aboard Asuka, Yuki senses that something’s up. Sanada and his Analyzers aboard Hyuga are equally perplexed.
“Yamato can take necessary actions within the scope of self-defense and humanitarian assistance. That must be the crew’s wish. So…”
Domon, Sakamoto and Caroline, all dressed up as security personnel, barge into the conference room, detaining Serizawa and Yamanami under the guise of an evacuation order from Yamato to Hyuga.
[KC]: Ah, I thought the music when Domon discussed tampering with the Wave-Motion Engine was entirely too whimsical. This is another of those fun Yamato hijackings.
[AMB]: It’s funky, isn’t it? That track’s called First Contact, and it’s an original piece created for 2199. It has a habit of playing in tense, nail-biting sequences such as the Izumo rebellion in 2199, Yamato’s rebellious departure from Earth in 2202, and Katsuragi Touko’s attempted escape in the same series. A conscious choice of music to be sure!
[KC]: I didn’t realize they used the same piece for all those scenes. Obviously, the series is not always subtle.
[AMB]: Back when we did the 2202 commentaries, I made sure to mix the BGM of every episode into cohesive wholes, mimicking their presentation in the animation. This meant that some tracks from the reboot are permanently lodged into my memory, whether I like it or not. I mostly do. In fact, listeners of those compilations can expect a similar treatment for the 2205 score. The mixing is already finished, but I need to actually make the videos for Dailymotion before they can be retroactively added to these commentaries. Stay tuned!
“We’ll escort the three bigshots out,” continues Domon as his compatriots manage to catch Burrell by surprise. “This is not the intent of the Earth government. Yamato is heading to Iscandar because of a revolt by its new recruits, and we have to show it to the world,”
Serizawa argues inaudibly with Sakamoto as Domon goes on, “This won’t just end with a simple discharge. You can say no, but even if it’s just me, I have to…”
That’s when the scheme falls flat. Two real security personnel break into the engine room with an explosive, holding Tokugawa at gunpoint. Inside the hangar, Tetsuya Kitano and a security detachment of four stop Domon’s group from putting the three ambassadors on the Fireboat, ending this charade.
“Game’s over,” Kitano says, his hand resting on the hip of his gun. The ship powers down. Revolt quelled.
[AMB]: Kitano finally gets some time to shine! And as already mentioned, Domon is clearly evoking Kodai’s spirit here.
On Yamato’s bridge, Domon and his compatriots are presented to Captain Kodai, cuffed and deterred. In the background, Hoshina shrugs at Domon’s frustration, making it pretty clear who ratted the youths out. Kodai informs Domon’s group that the revolt and its subsequent forcible control of the ship’s operations is a serious offense. Before the worst can happen, something else does. Kodai asks a question.
“Why didn’t you confide in me before taking action?”
Complete surprise washes over Domon’s group. Shima has himself a sensible chuckle.
“Don’t you know I’ve done this before?”
After some apprehension between the pair, Domon and Kodai finally connect, with the former acknowledging the latter’s authority.
[KC]: I just freaking love how this scene plays out.
[AMB]: It’s definitely one of Kodai’s best moments in 2205. This is where he realizes he made the right choice by admitting Domon to the crew, seeing as he helped revitalize the ship’s heart and spirit in one go. In fact, his ‘Don’t you know I’ve done this before’ quote became an in-joke between their voice actors, Ono Daisuke and Tasuke Hatanaka. It became the main topic for one of the discussions on the first 2205 Amazon CD.
Oh, and the music rocks here. It’s the same energized rendition of the New Cosmo Tiger Theme from the training episode, another very suitable choice of music.
[KC]: Absolutely. I like everything about this. Definitely a punch your fist in the air moment.
In the hangar, Kitano bids the three ambassadors adieu, giving them a respectful bow as the Fireboat shuts its doors, leaving Serizawa befuddled. Defense Fleet 65 prepares to depart for the Large Magellanic Cloud as Kodai blasts a powerful speech through the onboard speakers.
“Attention. This is Kodai, Captain of Yamato speaking. Defense Fleet 65 will head to the Magellanic Cloud. This is not by the order of Earth Command HQ, but of our own volition. If you don’t agree with this, let me know, and I’ll ask the Garmillas patrol on the Magellan side of the gate to accommodate you. We’re entering a battlefield. We’ll be in tough situations. But Yamato is not just a battleship. She’s the hope of mankind. We never lose hope, no matter what. She’s the embodiment of human will. Whatever happens, never give up. Keep trying. Seek peace in a hateful conflict. Based on human ideals, we’ll try to save as many people as possible. I hope you all will do your very best!”
The fleet enters the warp gate, sailing away.
[AMB]: Images flash by of nearly every character of importance aboard the three ships, timed to the music. Of particular note is Sado, who seemingly nods to himself in agreement at how similar Kodai is to Okita, filling his shoes like a good son. Tokugawa is greeted by both his senpai and kouhai in the engine room. Kitano takes note of Domon taking the gunnery chief’s seat is also fitting, seeing as this became a sub-role for Yamato III‘s Domon. And of course, there’s Yabu, whose tears of anguish shift to those of hope and joy.
Yamato’s heart is beating again.
[KC]: Yeah, Kodai! My expression is not unlike Yabu’s at the end of this scene.
[AMB]: The guitar riff playing as the camera shifts to Yabu is indeed cathartic. Wait. Are you saying this scene moved you to give the Yamato side of the story some love? I’m shocked!
[KC]: Hey. They’re going to rescue my boys.
[AMB]: I knew there was a catch!
Aboard the Fireboat, the three ambassadors coyly vent about what just happened.
“Oh man, we were forced out of the bunch, weren’t we,” Yamanami starts. “The higher in rank you go, the more boring the job becomes.”
“On the other hand, the young ones can do the jobs they want,” Burrell adds. “We’ll have to talk to the government to ensure their status.”
“Okita’s children…” Serizawa begins. “And his children’s children… are taking a step forward, huh?”
[KC]: Yamato has a good enough track record now that Serizawa’s gone from blowing a gasket every time they essentially mutiny to just accepting it.
[AMB]: The story of old crummy career military men in Yamato. First we heard Commander Todo refer to Yamato’s crew as “Okita’s children” in 2202, saying “Okita’s children are leaving” during the revolt. Then, an episode later, Yamanami made a special note of how Kodai for sure was “Okita’s kid.” At multiple points throughout the remainder of the series, Hijikata likewise refers to the crew as such.
And now Serizawa gets to complete the circle, factually claiming that while Todo understood that Okita’s children had left on a journey last time, Serizawa understands that enough time has passed for Okita’s children to have found their own symbolic children. Age is a harsh mistress, and perhaps he’s finally coming to terms with the necessity for new blood in the military.
[KC]: I think this reinforces your Buddhist theory.
[AMB]: Bonds are powerful tools for spiritual growth. Just ask Teresa!
Back on Iscandar, Dessler’s struggles continue as he forcefully lands in the freezing ocean with his Deusura III. Hit after hit from Deda’s fleet penetrates his own defenses, taking down his escorts and shutting down his flagship’s Geschtam field output. Gaiderols, Stukas and Kripiteria ships alike are all felled by the Dezarium invaders. Looking wounded and dazed, Dessler calls for an emergency launch of mines to knock out a couple of Caterpillars. He holds onto his right rib cage in clear pain.
“Defend the migration convoy. The damage is spreading out. Don’t let them come any closer. We can’t lose any more Garmillan lives.”
[KC]: Too many explosions and wreckage of green ships out there for my liking. What’s wrong with Abelt?
[AMB]: This scene can be read in many ways, from how he’s pained by the mounting losses of his brethren, to his body falling apart due to being away from Garmillas environment for so long. It’s an uphill battle of the worst kind and he’s fighting it in front of his men.
As Dessler speaks, refugees swim through the freezing ocean, helping one another out on Hilde’s initiative. Ship upon ship gathers above the remaining refugees, shielding them from enemy fire with their own steel bellies. Overcome with pain, Dessler curls over on the floor, giving Talan cause to attend his dear leader.
“Don’t worry about me. I felt dizzy. That’s all.”
Talan’s reply is cut off by the imperial guard. A transmission’s coming in from the Crystal Palace. As if forgetting he was ever in pain, Abelt turns his gaze upward, facing the familiar image of Starsha. Her expression is stone cold.
“Abelt.”
“Starsha…”
[AMB]: This scenario with an Imperial Guard informing Dessler of an emergency call from Starsha during the harshest of scenarios is an allusion and reference to the last time our leader spoke with Iscandar’s regent. The situation is uncannily familiar, in fact, so I’m sure that plays some part in why Dessler’s looking distraught here. Memory after memory keeps resurfacing to haunt him.
[KC]: I was wondering if he was just exhausted and an old war wound was acting up, or if it had something to do with that whole proximity-to-Garmillas they need to stay healthy. Talan seems fine, but we all know how stoic he is. Speaking of, it amuses me to interpret his expression when Starsha calls as “murderous.” Hostile, at least. But I could well be influenced by my own fanfic, not so far off from canon, where Talan’s fierce loyalty for Dessler and desire to keep him safe lead Talan to be annoyed with any number of people.
[AMB]: You wrote a fanfiction? Do share the pertinent details!
[KC]: Well, in truth it was Star Wars fanfiction I have been writing with my cousin Carol since we were little girls. We were pen pals and loved the movies and began inserting ourselves into adventures with Han, Luke and Leia. Carol originally put Dessler into our stories as a villain, but of course he reforms. It’s very self-gratifying and a bit wacky, but Carol went on to collaborate with Tim Eldred on his Bolar Wars Extended comics. She’s also written Lucasfilm-approved content for the Star Wars RPG that West End Games put out, so I like to embrace the conceit that her credentials lend weight to our personal nonsense.
[AMB]: Star Blazers sure did inspire a collection of very accomplished people – yourself included!
[KC]: Thank you kindly!
[AMB]: Regarding Dessler’s wound: Since planet Galman – which he visited recently – has the same environment as Garmillas, he’s probably good on that front. What’s more likely to me is that the wound he received from Miru’s gun near the end of 2202 is acting up. Remember, that gun was fired at almost point blank range. It’s a wonder his imperial guard managed to patch him up as well as they did. In that sense, the wound is likely reminding Dessler of the opportunity to save Garmillas that was lost when Miru died and Gatlantis self-destructed. Perhaps all of this could have been prevented.
[KC]: The show is still punishing him for his transgressions just like he’s still punishing himself. It’s fine. He really was a little sh*t in 2199.
[AMB]: Can’t argue with that. Blond brats are hard to tame. (See Legend of the Galactic Heroes.)
[KC]: The series where everyone’s uniforms are fantastic!
Abelt takes a stand, no longer holding his wounds.
“What are you doing? Get out of there at once! Even if you have to desert Iscandar…”
“I can’t leave,” Starsha dejectedly responds, surprising Dessler. “We’re Iscandar’s guardians. We are unable to leave this planet. Just as your kind can’t live separated from Garmillas for too long, neither can we…” Dessler is speechless as Deda begins bombarding the refugee convoy from orbit. The carrier Balmes appears to take a fatal hit and begins to crash.
[KC]: This f-ing guy. Deda just obliterated a lot of refugees.
[AMB]: And a lot more will face a similar fate. Either he’s completely desensitized to violence and death, or he’s too ideologically-motivated by Dezarium’s millennium dream to question his conscience.
There’s some clever wordplay here that takes advantage of fans’ knowledge of The New Voyage. Back then, Starsha related to Dessler’s desire to live and die on his home planet, and this was the shared reason for why she didn’t wish to leave Iscandar to its fate. Because of our previous knowledge of the series, we’re led to believe that this pair must share their reasons for not being able to leave their home, when in reality the cause is astronomically different between the planets.
Remember when Starsha told Kodai, in Episode 24 of 2199, that her people were resting below (the graveyard)? She wasn’t being literal. More on this in Episode 7.
[KC]: Yes, this is not the only thing that is astronomically different between them.
[AMB]: Let’s just say Abelt’s first crush turns out to be less of an Oediupus complex mother figure, and more of an ancient cougar.
[KC]: For sure I did not see that coming.
Meldarz begins to speak, broadcasting his intent to Deusura III. The transmission is choppy, both in video and audio form. All we see is a silhouette of something vaguely humanoid.
“Such a waste of resources and effort. Iscandar is all we want. We eliminated Planet Garmillas because it hindered our purpose. Why do you keep resisting?”
“You bastards… who are you?” Dessler demands.
“We are Dezarium,” Meldarz begins, as the unmistakable silhouette of a large space station flickers in orbit. “To those weak beings who don’t leave any mark in history…”
“… begone!” Deda concludes, firing another volley of deadly particle beams.
[KC]: The nerve of this guy. You’re talking to Abelt Dessler, Mr. Naked-In-Your-Command-Chair. Abelt Dessler GIVES speeches like that. He doesn’t receive them.
[AMB]: Meldarz has the common decency to not sit around in the nude this series. That privilege is apparently reserved for Mr. Body Builder. But you’re absolutely right about the speech; that privilege is Dessler’s.
Meldarz imparts some noteworthy hints here about Dezarium’s social structure. In fact, Meldarz alludes to their cohesion as uniform and unitarian. Perhaps they’re even a hive-mind connected to a super computer of sorts. Maybe the twist this time around won’t be that they’re humans who strayed too far from the human form, but rather A.I. seeking to replicate humanity after developing too far inside their version of the Time Fault? This line of reasoning only works if they are indeed from a different Earth, of course.
In fact, 3199 might even go so far as to hint that Dezarium and their dark nebula in the original Be Forever Yamato might have been Earthlings too, from a different timeline.
But what about his black silhouette? Why can’t Garmillan high tech displays properly capture Meldarz’ form and voice? Perhaps because he doesn’t belong in our timeline? Theoretically speaking, what would happen if a Dezarium soldier left their fortress homes and directly interacted with our world? Would they just evaporate? And why doesn’t Garmillas leave any mark on their timeline’s history?
[KC]: Oh, that is my mistake, sorry. Deda only cuts Meldarz off at the end. I was commenting as if it was him shooting his mouth off the entire time. And I suspect that the series is angling for a meatier, scientific reason why they’re indulging this “Don’t Reveal the Villain” trope.
Since I love what’s left of the Garmillas and I don’t believe the franchise has any intentions of getting rid of Dessler any time soon, I’m going to say that Garmillas has no history because Dezarium just destroyed Garmillas. Did Meldarz do any research on the Galman Empire? Did he Google Dessler himself? And while this is far less likely, maybe Meldarz is just being arrogant. Dessler loved to call us barbarians. Not that I necessarily disagree there.
[AMB]: A fresh, healthy perspective. Perhaps Garmillas suffered a similar fate in their timeline as it did in the original series, becoming a barren planet with no life? Even Galman suffers annihilation at the start of Final Yamato. Garmillan luck is almost nonexistent, it seems.
[KC]: There does seem to be some supernatural force thwarting Dessler at every turn, even in the old series. Going by the original storyline, it would appear that he always manages to carry on, but the empires he leads aren’t the same each time. I think I’ve mentioned in a previous commentary that the original Dessler appears as an older man in a newer Captain Harlock manga (Dimension Voyage), but I don’t see Meldarz on any cereal boxes. In the end, I personally would take just Dessler and Talan, but I don’t really think the show will bring a definite end to the Garmillan people.
[AMB]: Neither do I. And to be fair, Dessler only truly dies in one original saga outing, and that’s Farewell to Yamato. Meldarz always dies, just at the end of his ambitions in The New Voyage. The guy just can’t catch a break.
Mecha fans will be sad to hear that Dezarium’s white, red-striped atmospheric fighters – which originally flitted across the sky for this sequence – were cut from 2205. They did receive splendid designs by Bolar and Dezarium’s mecha designer Miki Akitaka, sporting a more uniform black, red-striped look to better fit the general aesthetic of the new Dezarium, now given the moniker of “disc-shaped fighter.” As for the prospect of their future inclusion in 3199, we’ll just have to play the waiting game. If memory serves me right, these fighters made no appearance in Be Forever. Most likely due to their white color clashing with the original army’s aesthetic. This has now been rectified.
But Deda’s beams don’t reach all the way! A missile enters the scene, bursting into a circular Wave-Motion field of protective properties. The sight of its heavenly energy pulsating in the sky shocks Dessler and all his allies. Before they can figure out what happened, a fleet of three ships breaks into Iscandar’s atmosphere.
“What is that?” asks Melda.
“No way…” adds Berger.
“Is that…” Frakken shouts.
It’s Defense Fleet 65. It’s Yamato. Dessler can’t help but crack a smile.
“So, you came after all, Yamato.”
The camera zooms in on Kodai’s left eye, his right eye hidden under his Captain’s cap. Yamato‘s cannon fire fills the screen.
[AMB]: Just like in 2199, Yamato makes the tough decision to intervene in a war raging on the surface of one of the twin planets, aiming to do the best they can to mitigate losses on both sides of the conflict, with the ultimate aim of a peaceful resolution and an end to war. Yamato’s heart is beating stronger and stronger!
[KC]: Ohhhh Deda, you’re in trouble now!
[AMB]: And he won’t know what hit him! The missile was, of course, a Wave Diffusion Barrier launched from Asuka, as previously seen tested in Episode 2. And isn’t it cathartic to see all these familiar Garmillan allies marveling at Yamato’s timely return? This was an excellent way to end the first chapter of 2205 – in style!
[KC]: I really liked it a lot. I think all three series so far give the same general vibe, even if 2199 was originally written to stand alone by different people than are working on the series now. Definitely still more sophisticated (NOT A CRITICISM) than their original counterpart in depth of story. Plenty of heart-wrenching and heart-leaping moments. This episode in particular had a little bit of everything, and things are about to get pretty heavy again, so it’s good to finish on a real high.
[AMB]: I’m in full agreement. Of particular note is the inclusion of countless allusions to Be Forever and Yamato III, two works that often fall through the cracks in discourse surrounding the original saga. Seeing elements from these works getting a fresh new look is both thrilling and intriguing. And the antagonists are given their fair share of screen time, thorough examinations of their motivations, and intriguing side-stories that rival past outings. I’m hopeful and excited for the future of the franchise, to say the least.
This episode covered approximately 15 minutes from The New Voyage, as well as 2 minutes from Yamato III. This is an impressive feat given the amount of fresh, original content. Out of The New Voyage’s runtime, 56 out of 95 minutes have been covered, leaving the original work’s huge climactic battle to be explored, giving room for plenty of original content and Yamato III inspiration. See you again in Episode 5!
Coda
Theatrical release: Space Battleship Yamato 2205, The New Voyage Chapter 1: TAKE OFF contained episodes 1-4. It premiered in Japanese theaters October 8, 2021
Japanese video: Theater-exclusive Blu-ray October 8, 2021. Standard Blu-ray & DVD November 26, 2021
Series credits
Writer: Harutoshi Fukui
Scriptwriter: Hideki Oka
Director: Kenji Yasuda, Satelight Studio
Character Design: Nobuteru Yuuki
Guest Character Design: Chiziru Kobayashi, Takahiro Kishida, Kiyoshi Tateishi
Mecha Design: Junichiro Tamamori, Yasushi Ishizu, Mika Akitaka
Prop Design: Kio Edamatsu
Art Directors: Hiroshi Aroku, Yusuke Ikeda, Kenichi Tateto
Color Designer: Kumiko Nakayama
Director of Photography: Shinya Matsui
CG Animation Director: Hiroyuki Goto
Editing: Ryoko Kaneshige
Music: Akira Miyagawa, Hiroshi Miyagawa
Sound Director: Tomohiro Yoshida
Executive Producer: Shoji Nishizaki
Production: Yamato 2205 Production Committee