Space Battleship Yamato 2202 Report 5

Wave-motion energy at 80%! From mid-December through early January, the Yamato 2202 promotional engine picked up more power with new interviews, new trailers, new artwork, and new announcements that arrived on a weekly (occasionally daily) basis as the February 25 launch got another month closer. Here’s everything that came at us during that period.

December 10: New Type magazine

Despite being a high-visibility monthly anime magazine (second only to Animage), New Type was never a major source of 2199 information, but it still kept pace with the biggest developments. That thread was picked up again with a half-page in the January 2017 issue that brought everyone up to speed with character data published at the official website on November 25 (seen here in Report 4).

December 15: FMV collaboration announced

FMV is the retail end of computer manufacturer Fujitsu, and on this day they formally joined Under Armour in sponsorship of Yamato 2202. Their opening gambit was a prize campaign that was announced as follows:

To commemorate the theatrical premiere of Space Battleship Yamato 2202, a collaboration campaign is underway with Fujitsu Personal Computer FMV! See the promotional trailer and get Yamato-related goods in stores! A “Present Campaign of Love” is also underway!

Prizes will ship around the end of March
Campaign period: November 28 – February 28

Plan 1
Promotional videos for both Yamato 2199 and Yamato 2202 will be shown in the FMV corner of household appliance stores and Fujittsu Personal Computer FMV centers in consumer electronics stores across the country.

Plan 2
202 people will win Yamato-related goods during the collaboration campaign, chosen from those who apply at the website. The prizes include:
Soul of Chogokin GX64 Space Battleship Yamato 2199 (1 winner)
Theatrical posters signed by Susumu Kodai’s voice actor Daisuke Ono (3 winners)
Recording scripts signed by series writer Harutoshi Fukui (3 winners)
And many more!

Plan 3
An original office template present using a key visual from Yamato 2202, which can be used with Word 2016, Excel 2016, and PowerPoint 2016. Details to be updated periodically.

Visit the collaboration website here

December 17: Great Mechanics G, 2016 Winter issue

Before, during, and after the whole Yamato 2199 experience, this quarterly magazine from Futabasha consistently delivered the most in-depth and knowledgeable coverage (access them from the 2199 media index here), and they picked right up where they left off in this issue. Several interviews with series writer Harutoshi Fukui have already appeared (there are more of them farther down this very page), but this one outshines all of them, surpassing even last year’s Ship’s Log interview.

Don’t waste another minute – read the full interview here!

December 16: Advance tickets on sale

On this day, fans in Japan could purchase commemorative advance tickets for 2202 Chapter 1, either from Yamato Crew or at a participating theater. These were essentially ticket vouchers, to be redeemed later. The bottom portion would be torn off with the top portion left as a keepsake. The photo above left was posted on Twitter by SpaceBattleStar.

An even better keepsake was the poster that had been revealed about a week and a half earlier (and seen in our last report).

December 16: Website update

The character page at the official 2202 website got a new category on this day (Garmillas) and two new characters to kick it off:

Loren Varel

Voice: Masaki Terasama

Garmillas Empire ambassador to Earth. He is a thoughtful person with the appearance of a civilian who makes full use of strong-arm diplomacy to grasp global trends.

Klaus Keyman

Voice: Hiroshi Kamiya

Garmillas Empire military officer, an attache to Earth. In response to a command from Varel, he investigates the Yamato crew. He excels in physical ability and is a first-class pilot. Usually taciturn, on the occasion when he does open his mouth, he is acerbic and does not mince words.

Klaus Keyman has a name that should immediately spark the memory of veteran Yamato fans; “Keyman” was the original name for Alphon in Be Forever Yamato, changed only shortly before the movie was finished in 1980. It’s always nice to be reminded that the people making these things know the “deep cuts” of Yamato history.

See our complete (so far) Yamato 2202 character guide here.

December 16: Voice actor news

With a new characters come new actors to play them. It was a major news announcement on this day that award-winning voice actor Hiroshi Kamiya would be joining the voice cast, stepping into the role of Garmillas character Klaus Keyman. Kamiya has a massive resume (seen here), which includes roles in Saint Seiya, Gundam 00, Macross Frontier and – most prominently – Levi from Attack on Titan.

Several interviews with Kamiya were published simultaneously. The most comprehensive came from Animate Times and includes exclusive information about episodes 1 and 2.

Hiroshi Kamiya appears in Space Battleship Yamato 2202, Soldiers of Love! How do you play an acerbic pilot? Exclusive Animate Times interview!

New characters and cast members have been announced for Yamato 2202, which opens in theaters February 25! It has been decided the very popular voice actor Hiroshi Kamiya will play a new character, Klaus Keyman. The official character information arrives along with a teaser trailer, comment, and interview! Animate Times conducts this interview with exclusive questions to deliver this urgent information!

Interviewer: Please tell me how you felt when you got the offer and decided to appear in this work.

Kamiya: It’s a very big title, and I thought it would be nice to participate. However, there was only one chance for this one role, and I knew I wasn’t the only candidate for it. One day I got a call from my manager, and he said they had decided on me. I don’t often get good news like that many times in a year, so I was very humbled and grateful.

Interviewer: How did you first encounter the Yamato series?

Kamiya: I saw the TV series when I was little, but I don’t remember the movies very well, and I didn’t remember seeing Farewell to Yamato, Soldiers of Love. I knew that the title of the work was Yamato and it had spaceships and a hero named Kodai, but other than that, I don’t think I was conscious of the story. I think I was just too young. As a title, Yamato is over 40 years old now, so those who watched it in a real time are about 10 years older than me. So, unfortunately, that’s all I remember.

Interviewer: What was your impression upon reading the script?

Kamiya: To tell the truth, I first appear in the second episode, so I was curious about how things got to that point. It’s the sequel to Yamato 2199, so I watched all of 2199 before I got the script. Meanwhile, there was a compilation movie of the TV series and a new movie [Ark of the Stars], but since I didn’t see them I wondered what in the world had happened. (Laughs) I was a bit surprised that the episode wasn’t connected even though I watched the whole TV series. (laughs) But there is now a feature film that connects it with the previous work, and this is now a separate story, so I was able to look at it that way without worrying about it very much.

Regarding the story of Episode 1, since I had an opportunity to work with Daisuke Ono [Kodai’s voice actor] on something else, I heard about what kind of feeling Episode 1 has so that I could look at the script for Episode 2, and it straightened out the parts that I was confused about. The story that starts from here feels really intense, and it gave me the feeling that my role might be a “key man” as the name suggests. I read it with great interest.

Interviewer: Keyman, who you will play, is a completely original character that didn’t appear in the original work. What kind of explanation did you get from Director Habara and the writer, Mr. Fukui?

Kamiya: Like I said, the role will become a “key man” as his name suggests. If I tell you more about what they told me, I’ll spoil everything. (Laughs) Mr. Fukui gave me a detailed explanation of what happens in the story and what kind of fight Keyman gets into. Because it’s a character that doesn’t appear in Farewell to Yamato, which is the basis for this work, Keyman is part of the Fukui edition, and after listening to Mr. Fukui I thought it might become a character that symbolizes Yamato.

Interviewer: There are a lot of cast members returning from Yamato 2199. How was the atmosphere when you joined up, and please tell us about any important moments during the recording.

Kamiya: When I entered the studio, my first thought was that there were a lot of veterans here. There were veterans, mid-range performers like Daisuke Ono who plays the lead role, and several rookies, so it’s very balanced. When the veterans play their parts, they have a powerful presence. I could feel the tension about what was at stake and struggling with how to play a line. It was very rewarding. Also, I had a personal impression from seeing 2199 and for a moment I thought, “Oh, these are real people.” (Laughs) I wasn’t involved in 2199 at all, so I could enjoy it as a fan.

Interviewer: Since he is to become the “key man” according to his name, please talk about your enthusiasm for this work.

Kamiya: It’s difficult to speak briefly, but the work called Yamato is a starting point of Japanese anime, and in that sense I think it has become a classic. I never actually saw it, but I know the title and I know the theme song. When you know the theme song you understand the content of the story, and I already feel like Yamato is something close to a legend or a fairy tale. If you know even the first line of the song, you know the story of the previous work 2199. The feelings and details may be different, but since the essence is concentrated in that one piece of the song, you can see 2202 even if that’s all you understand. I was very interested in seeing Mobile Suit Gundam UC [Unicorn], to see what Gundam would be like with the Fukui touch, and it was very impressive. So what would happen if Mr. Fukui makes Yamato?

Furthermore, with the new power of Director Habara, seeing what kind of Yamato gets made is a matter of great interest for me. For me personally, since Keyman is an original character I want to make sure Mr. Fukui’s intentions are strongly reflected, and I’m fired up to take it on. I think we can deliver something wonderful for everyone, so I’ll be very glad if you go to the theater.

Exclusive question from Animate Times

Interviewer: We did some research on Keyman of the Yamato crew, and he’s a character with a strong personality and a first-class pilot, but he’s taciturn and acerbic. What are the challenges in playing him?

Kamiya: As expected, I had to act after receiving the design art, so to be honest I was concerned about whether I could really express all that. I’m very grateful to have gotten a role like this at this point of my career. I have to be able to express it properly as my own, and knowing that it may influence the overall impression of the work brings a heavy responsibility. Of course it requires vision, and I go into the voice recordings with a clear idea of what I want to do.

Chapter 1 story

It is the year 2202. Space Battleship Yamato returned from the great voyage to Iscandar, 168,000 light years away, and three years have already passed.

Earth was restored to its former blue image and a peace treaty has been concluded with the Garmillas Empire. Besides the reconstruction, the maintenance of a new fleet is underway, including the latest advanced battleship, Andromeda. The wishes of Starsha of Iscandar have failed, since Earth is on a path of military expansion. Yamato achieved all this through many irreplaceable sacrifices.

But is it true peace? The prayers for peace from the goddess Teresa invite Yamato on a new voyage. But the menace of Gatlantis, which sweeps through space, is approaching Earth…

Story synopsis

Episode 1: The year 2202 – revive, Space Battleship Yamato

It has been three years since the voyage to Iscandar. Earth was revived by the Cosmo Reverse System and is recovering rapidly. On the other hand, the combined fleet of Earth and Garmillas collides with a mysterious vanguard of Gatlantis. In the midst of this maelstrom is Susumu Kodai and former crew from Space Battleship Yamato

Episode 2: Tension – the embassy under the surface of the Moon

A grand naval review is held for the advanced battleship Andromeda. The newly-established Earth Federal Government pursues a policy of military expansion. The former Yamato crew members gather at the Hill of Heroes on the anniversary of Captain Okita’s death, feeling intensely uneasy with the current state of Earth in which rearmament proceeds after scrapping the treaty with Iscandar.

December 16: TV commercial

The biggest news of December 16 was our next look at moving pictures, delivered with lightning speed in a 15-second TV commercial. It gave us our first glimpse of Klaus Keyman, a mini-glimpse of Emperor Zordar, the ghost (?) of Captain Okita, and a powerful indication of just how much action will be found in Chapter 1.

See it on Youtube here.

December 16: Yuki Mori figure promotion

The “Nose Art” Yuki Mori from Megahouse’s Yamato Girls Figure Collection got a lot more exposure (so to speak) when preorders finally opened on this day at the Premium Bandai website. The figure is scheduled for release in May 2017. Sculpted to look like a glamor girl on the nose of a World War II aircraft, the figure is 1/8 scale with a removable jacket and hood. The chain attached to the half-anchor is made to wrap in whatever configuration suits you.

See the product page at Premium Bandai here.

From a New Year’s Eve concert with Akira Miyagawa and the New Japan Philharmonic.
Yep, that’s a pipe organ, all right. (Posted on Twitter by Chiko Miyagawa.)

December 22: Concert announcement

It’s way too early for a dedicated Yamato 2202 concert, but Yamato music can’t be held down for long before it finds a way to your ears. Composer/conductor Akira Miyagawa has a busy schedule all year long, which always includes something on or close to New Year’s Eve. This time an announcement was made on the official 2202 website that add a new dimension to the Yamato music world…

Space Battleship Yamato Montage for chamber music

Comment from Akira Miyagawa about the performance

In the new year on January 3, I will conduct the premiere performance of Space Battleship Yamato Montage for chamber music at the Hyogo Arts and Cultural Center in Nishinomiya with Ensemble Vega.

I finished recordings for Yamato 2202 and wrote this work while I was still excited. The staff of Columbia has yearned for another Symphonic Suite Space Battleship Yamato for a long time, and since the 1977 edition is so wonderful and deeply personal, I hesitated to take that step. However, when I wrote Space Battleship Yamato Montage for chamber music I think it was a subtle clue to turn the next page.

These days, CDs of theatrical accompaniments called Symphonic Suites are rampant. Such a CD for an anime I previously worked on had the “Symphonic Suite” preposition attached to it all too soon, and it was a very embarrassing experience.

This work is not a suite. It’s also different from the homages that are popular now. I thought it was something like courage, but when I looked it up in a dictionary that wasn’t exactly it. Melodies are loosely connected to the domain of the spiritual subconscious…so I named this work of chamber music a “montage.”

There is no talk of a commercial recording at the moment, but it will be an important part of Ensemble Vega’s repertory from now on. On January 3, I will conduct its first public performance at the Ensemble Vega New Year Concert at the Hyogo Art and Cultural Center.

– Akira Miyagawa

December 24: Hobby Japan #572

This issue, dated February 2017, gave us a nice big look at the first new model kit coming for 2202, a 1/1000 Andromeda from Bandai.

Dengeki Hobbyweb followed up the very next day with the same photos, which make it apparent that the kit will be equipped with electronic features (probably lights and sound effects) along with tiny Cosmo Tigers.

Price and release date are not yet fixed; “spring 2017” is as close as we can get for now.

December 31: Asahi Shimbun ad

2016 ended in style when this full-page ad appeared in the Asahi Shimbun newspaper, reminding everyone that the new adventure would begin in less than two months. Director Nobuyoshi Habara, as humble a guy as you could ask for, mentioned on social media that it was the first time he saw his name in the paper.

The ominous headline reads:

The most successful masterpiece series revives anew!
Prepare for a shock that will shake the 21st century
Soldiers of Love!

See a larger, pristine version of the ad at the end of this page.

2017 Begins!

January 3: Harutoshi Fukui interview, Mantan Web

The year of 2202‘s debut began with new words from writer Harutoshi Fukui, who is the voice of the franchise in more ways than one (especially since Director Nobuyoshi Habara is no doubt buried in day-to-day production work).

The following interview appeared this day on the entertainment site Mantan Web.

Writer Harutoshi Fukui on Space Battleship Yamato 2202 “Since it speaks to these times, it resonates with the heart.”

Yamato 2202, Soldiers of Love is the latest series from the popular anime Space Battleship Yamato. Using Farewell to Yamato, Soldiers of Love as its motif, it will be released on February 25. In this story, set three years after Yamato returns from iscandar, the Gatlantis Emperor rises to conquer all of space, contrary to the wishes for peace of the Goddess Teresa, and Earth starts down the road of military buildup. We spoke with novelist Harutoshi Fukui, who worked on the series composition and script.

Interviewer: When did you see Farewell to Yamato, which became the motif for this project?

Fukui: I didn’t see it in a theater, I saw it when I was a kid in elementary school when it was broadcast on TV. I remember thinking, “This anime may be trying to tell me about something important,” and I cried. Because video software wasn’t widespread at the time, there was no other way but to watch it in real time. When I was a college student and rental video was prevalent, I thought “I cried before, but I won’t cry now,” and then I wept buckets. As a college student, you’re about to be drawn into the real world, and that’s why its purity stuck out so directly. Your impression of it changes depending on what age you are when you see it.

Interviewer: The theme is “love.”

Fukui: It seems some people think, “What’s that?” (Laughs) The main slogan, “This ‘love’ will shatter the cosmos,” is not written to be something good. It’s a love that destroys the world, and a conflict happens because it comes into conflict with the love for other people. It uses the subtitle Soldiers of Love because it is based on a complex society. There is a linear progression that will not betray the people who love the old Yamato.

Interviewer: The heroic solo charge at the end became a topic at the time.

Fukui: Back then it was said that it “glorified suicide” but when I looked back at it I thought, “Doesn’t it draw from a larger perspective?” and “Well, maybe I can do that, too.” Whenever people of the present day think of the future of society, it always seems to be “Different from what I imagined. It seems to be getting worse.” I think it syncs up to the journey of Yamato now because these days are more complex.

Interviewer: You’ve recently been more active in anime than in novels.

Fukui: Literature and the general market have gone their separate ways, and novels aren’t profitable. Ordinary readers tell me they have a “favorite writer,” but if I ask, “what’s their latest work?” they can’t answer me. The reality is that even if you have a bullet of a novel, you can’t reach a closed-off layer. Anime is a medium that appeals to the public, and a suitable one to speak to the world. I have to look calmly toward that.

Interviewer: Do you have any difficulty with the differences between a novel and an anime script?

Fukui: Even when I wrote novels, there were parts that I visualized, so it’s not too much trouble. In an anime script, you have a limited time to present something, so it has the feeling of taking careful aim and shooting. It’s the difference between a machine gun and a sniper rifle. Since an anime script is one piece of a whole that combines directing and music, you don’t have to do everything with text. Isn’t that better? There are always concerns with details, but I feel like I can proceed reflexively without losing the basic route.

Interviewer: What are the differences between Yamato and Gundam UC?

Fukui: With Gundam there are already a lot of established concepts, and since you should base [the story] on those, it’s no different than writing World War II fiction. In contrast, since Yamato‘s established concepts aren’t as minutely detailed as Gundam, “What story do we tell?” is shaped more by the world of the production than by the established concepts, and in that way it differs from Gundam.

Interviewer: What are you most fixated on in this production?

Fukui: While answering to the leftover homework of 2199, I thought about present-day Japan. As a result of the [2011] earthquake, we experienced a situation similar to losing our country. In that sense, it’s similar to the position Earth was in during the Garmillas war, so I thought it could be depicted with a similar distant feeling. What kind of choices would a human make on the brink of extinction? Therefore, choosing the atmosphere for Yamato wasn’t too hard. The original Yamato story touched people because it spoke to its time.

Interviewer: Is it hard to understand without seeing the previous work?

Fukui: As expected, it would be better if you know Yamato from the previous work, 2199. However, for those who haven’t seen it, I think there’s a video you can watch on the official website called Understanding Yamato 2199 in 4 Minutes with Aya Uchida. It isn’t difficult, so please go see it in a theater and enjoy yourself.

January 4: Ship’s Log issue 16

A copy of this issue arrived at the Cosmo DNA nerve center after this report was published, but it will appear in the next. The cover story was an interview with the voice actors for Kodai and Yuki.

January 5: ZIP! Report

ZIP! Is an early-morning entertainment show on Japanese TV. It was also the sound of Yamato fans rushing up to their screens when all-new images popped up one by one. A continuous caption announced that voice actor Sayaka Kanda had been cast in the part of Teresa.

This turned out to be the prelude to a busy news day for 2202. For starters, the new footage was soon made available to everyone around the world…

January 5: Teaser trailer 3

The arrival of a third teaser so soon surprised everyone, and it was so packed with lightning-fast images it was hard to pick them all out in one viewing (see it on Youtube here). Lucky for us, the large number of shots in this 30-second montage seem to have enough connectivity to piece some plot together.

Harutoshi Fukui has already stated that the action starts up very quickly in Chapter 1 (as opposed to the slow build of the original story), and the abundance of battle scenes suggests that we’ll be seeing an Earth/Garmillas vs. Gatlantis scenario right from the start. Some elements in this battle are a Kongo-class Earth ship named Sugarloaf (some use mountains for nomenclature), a Megaluda-type Gatlantis ship, and a solid shield that seemingly offers zero protection from it.

We get a full-face reveal of Zordar and a shot of Sabela back in action, probably commanding the battle in progress.

Twin Wave-Motion Guns lash out from the dark, perhaps bringing this battle to a close. Even Kodai is surprised at the result. As we all know, they can only come from one source.

Unmistakable images from the reunion at Hero’s Hill.

Shima, Sanada, and Kodai witness something unexpected. A cry for help? A desperate plight?

A tense moment between Kodai and Klaus Keyman. Is Kodai hiding something?

And finally, flight trials over the moon involving a Type-100 recon plane, an elaborate new fighter (later identified as the Cosmo Tiger 1), our first look at the Cosmo Tiger II, and Yamato taking a shot at what could be the ceiling of an underground dock. From this we can assume that Chapter 1 will likely end with the breakout launch. We won’t have long to wait for confirmation.

January 5: Harutoshi Fukui interview, V-Storage

In Report 4, we got another Fukui interview from V-Storage, the monthly promotional magazine of Bandai Visual. The V-Storage website reprinted part of that interview on January 5 and supplemented it with this additional content:

People who see this work will surely think, “This is indeed Soldiers of Love!”

Interviewer: Space Battleship Yamato caused a big boom in those days (late 1970s), but how was it different from other anime works? What did you like about it?

Fukui: To be honest, there weren’t any other anime works I wanted to watch besides Yamato. Generally speaking, I think people part ways with things from their childhood in the 4th or 5th grade of elementary school and we start to grow up little by little. That was the heyday of Kadokawa movies, and it seemed that seeing Wild Proof (Eng. title Never Give Up, released in 1978) earned status among the boys in my class. In that kind of atmosphere, there was no anime any more. Nobody could have imagined standing in line to buy plamodel robots two years later. (Laughs) At that time, Yamato was the only anime work I wanted to see. Most of the other anime was made for children, and Yamato was the first pioneer that targeted teens and adults. That was the only one until Mobile Suit Gundam came out.

Interviewer: Please tell us how you decided to take on the series composition and screenplay.

Fukui: I first heard from Voyager Holdings around the time Yamato 2199 ended (the 2013 broadcast). However, I was still working on Mobile Suit Gundam UC (Unicorn) at the time, and it would have been tough indeed to do both. By that, I mean on my mental side rather than the work side. (Laughs) So when UC ended and was settled for the time being, I was contacted again. Since UC was over, I was looking around for what I would do next, and when I heard about this story I thought I’d like to try it.

Interviewer: Noboyoshi Habara, who has been deeply involved in Yamato until now, serves as the director. What are your impressions of him?

Fukui: When I first heard of Mr. Habara, he was an animator. The pictures he drew in those days were very expressive with a neat and clean feeling and a good sense of balance. Even when I look at Mr. Habara’s storyboards these days, the characters always have a neat and clean appearance. There’s a sense of security, like looking at your favorite painting.

Interviewer: What kind of memorable exchanges have you had with Director Habara?

Fukui: On the “give and take” front, I’d hazard to say that I got more from vice-director Makoto Kobayashi than I did from Mr. Habara. In contrast to the typical Habara thing of asking, “Could this be done?” and then me suggesting, “How about we do it this way?” and proceeding from there, his were too often, “Oh, I want to do this” and “I want to do it this way.”

Interviewer: What are some of the highlights we’ll see in Chapter 1 when it opens on February 25?

Fukui: With both Farewell and Yamato 2, there weren’t many battles in the beginning. But there are a lot of battle scenes in Chapter 1 this time, so I think anyone who goes in with their guard down, thinking of it as a remake of Farewell, will be surprised. Still, after watching it you should certainly get the feeling of, “This is where it starts from!” Of course, since it’s the story that follows 2199, there was a lot of 2199 homework to do, and since I answered all those questions one by one, I think you’ll enjoy that part as well.

January 5: Voice actor news

ZIP! was the first source to break the news of Sayaka Kanda being cast as Teresa. Other sources quickly picked it up including Yahoo News and Lisani Web. There was even a video promo (posted by Jiji Press) that started with the new trailer and featured Kanda herself delivering an on-camera message. See it on Youtube here.

The official 2202 website followed up a day later with a text interview that gave us all an introduction.

Special Interview: Sayaka Kanda

Interviewer: How did you feel when you were cast for this work?

Kanda: Of course, I knew of Space Battleship Yamato, and at first I was surprised that it was being made anew. I’m happy to have the part and I deeply appreciate getting to play the character of Teresa, who has such an important role in the work. The first time I saw Farewell to Yamato, Teresa was a very impressive character, so I’m taking the responsibility very seriously.

Interviewer: What was your impression of Farewell to Yamato, Soldiers of Love, which is the motif for this work?

Kanda: The terminology used in the work was difficult, but I watched it several times in order to understand it properly. At first there is the battleship and Yamato’s battle scenes, so it has the image of something for men. But when you see the tension in the scenes and the human drama, I could feel the suspense and very much enjoyed watching it as a woman.

Interviewer: You mentioned before that you knew of Yamato. Was that from the theme song?

Kanda: That’s right, someone was always singing it at karaoke. (Laughs) When we talked about deciding the role of Teresa in the office, everyone was pleased that it was “that Yamato!” After all, since Yamato is well known to so many in the generation around me, I think it will be the same for people around the world as well.

Interviewer: You’ve read the script, so please let us know your feelings about the voice recording.

Kanda: I’ve participated in several anime works so far, but they were always separate recordings, and I haven’t yet recorded with other voice actors. But this time the respectable cast is all on-site and recording together at the same time, so in a way I think this might be my true debut as a voice actor. I don’t want to get in anyone’s way, but since I only speak a few lines from the script at the beginning and then disappear, I get the feeling that I can’t go wrong with a start like that. (Laughs) Even though I got the part, the role is really magnificent, so I was nervous from the day before the recording.

Interviewer: What was it like for you to be recorded along with others in the cast?

Kanda: The program in the training school where I went covered a lot of practical skills, so I studied all the basics. I don’t think I could have done it if not for that. The first recording doubled as a meet-and-greet, and there were a lot of people in the staff and cast. I felt like a rookie among them, so I wanted to be paper-thin and narrowed my shoulders as much as possible when I sat down. (Laughs)

Interviewer: How was the atmosphere on-site?

Kanda: It’s a series, so a lot of cast members had appeared in the previous work, Yamato 2199, so there was a peaceful, family feeling. Rather than being nervous, I felt that the ultimate goal was to become a member of this family.

Interviewer: Were there any moments that made an impression on you?

Kanda: Of the people I’ve previously met, only Daisuke Ono (Kodai) was present at the site. I was grateful to meet him before at the voice actor awards (the ninth award ceremony in March 2015), and Mr. Ono spoke gently when we met the first time. I was very happy when he said, “I’ll see you at work next, Ms. Kanda” and it has remained in my heart. I answered, “Yes, I’ll work hard to get there.” And now I’m really happy to see Mr. Ono again on-site. I hope I can thank him properly some day.

Interviewer: Have you gotten any advice from Director Habara, Mr. Fukui, and Sound Director Yoshida about playing the iconic character of Teresa? And what do you keep in mind while playing her?

Kanda: The staff said, “Teresa is like a goddess watching over the entire universe, so you speak differently than ordinary mortals. Please speak with a divinity that is immediately apparent.” I based the part on that information and since her line is a message with the impression of a prayer, I played it with a sense of urgency in the test. But then it had a temperature that was closer to human beings. I was told to be more restrained, so performing became a matter of subtraction for me. Rather than a strength coming from emotion, it comes from a core of logic. But if I hear it like a human being I feel pressured and I wonder if it’s close enough. In order to give the sense of being in a special place, I understand that persuasive power is more important than intonation, so that’s how I perform it.

Interviewer: Is it actually a difficult role to perform?

Kanda: I didn’t want to make the other cast members wait around for me, so I thought I would be intimidated if it took more time. Anyway, I concentrate so that I can understand 100% of what is asked of me, and return it immediately.

Interviewer: Concerning your future development, what sort of things do you expect?

Kanda: There was a great work named Yamato that was made before I was born. There are many longtime fans, and I think it has an ending that they will be personally satisfied with. And beyond the existing fans, I’d like it to make an entrance for those younger than my generation who will see Yamato for the first time. Anyway, I think we can help to make it impressive to as many people as possible.

Interviewer: Please give a message to the fans.

Kanda: In the work called Yamato, the iconic Teresa is a key person, and I’m thinking more and more about the our sense of responsibility for it to succeed. When the series ends, I’ll try my hardest to naturally become a new Teresa among you. Thank you for your support.

Sayaka Kanda profile

Born in Tokyo. Actress affiliated with Fantic. She has appeared on stage and in numerous musicals. She has a reputation for clear and strong voice acting. She has appeared in various productions, and is mainly known for her role as Anna in Frozen. (Japanese title: Anna and the Snow Queen.)

See Sayaka Kanda’s entry on Anime News Network here and visit her official site here.

January 6: Website update

The Sayaka Kanda interview was just one of the new features added to the official website on January 6. The most prominent was a brand new image for the home page, presumably the key art for Chapter 1. (See a larger, pristine version at the end of this report.)

Even better was our first head-to-toe look at Zordar on the character page, which came with a newly-revised description as follows:


Voice: Hideaki Tezuka

The great emperor who leads the Imperial Gatlantis warrior nation. An absolute ruler who indulges in silent philosophical contemplation with massive violence in his hands. Based on his own personal beliefs, he drives the huge White Comet and an enormous mobile fleet to redraw the map of space. When he captures Planet Telezart, he detects Earth after Teresa sends a Cosmo Wave there, and he dispatches a fleet.

Voice actor Hideaki Tezuka, who we presumably hear in the third teaser, has previously voiced strong characters such as Eddard Stark in Game of Thrones and Nick Fury in Madhouse’s Marvel anime productions.

January 6: Fan club medallion

Every fall, Yamato Crew puts out a renewal notice to members of the Premium Fan Club, asking everyone to purchase a subscription to Ship’s Log for the coming year. They sweeten the offer with a premium gift, which in this case was a metal medallion about 2.3 inches in diameter. Originally scheduled to ship out in late November, it was delayed to early January. But no one seemed to mind.

Also spotted in January

Makoto Kobayashi on Twitter

Director/mecha designer Makoto Kobayashi treated us to more exclusive looks at what was on his computer screen in late December and early January, all of which were posted to his Twitter feed. This included detailed views of the Cosmo Tiger I seen in the newest trailer.

See a mind-blowing gallery here.

Live promo: a billboard spotted in the JR train station at Akihabara, Tokyo. Posted Dec. 29 on Twitter by Redcrab Library.

More live promo: the movie poster has been displayed in theaters for a while, but the banner at right only appeared at Comiket 91, the last weekend in December. Posted Dec. 29 on Twitter by Xebec.

The last word for this report goes to character designer Nobuteru Yuuki, who posted this new year’s message on Twitter January 4:

It’s a little late, but Happy New Year
m(_ _)m

Yamato is lonely without Mr. Izubuchi. But I’m looking forward to what Yamato will become under Director Habara.

Thank you everyone for your support of 2202 and 2199.

See Nobuteru Yuuki’s Twitter feed here.

What’s Next

2202 news can come from any direction at any time. This report closed out in early January with two items on the radar: a new issue of 1965 Man magazine with the first Farewell to Yamato cover story since 1978 (seriously; see the record here) and the voice actors for Kodai and Yuki were both scheduled to appear at a planetarium event in February.

By the time you read this, there will doubtless be more news already. Keep up with it at the Cosmo DNA Facebook page and head right on back here for the next report on February 15!

Meanwhile, as promised higher up the page…

5 thoughts on “Space Battleship Yamato 2202 Report 5

    • Seems ok to me, any specific gripes? For me, it just looks unfinished, aka unpainted and majority of Bandai kits looks like it in that state.

  1. OMG! The HYPE IS ON!!!! Those shady and epic shots of Andromeda in the red mist is just sooooo cool!!! Though I find the Bandai Model of Andromeda looks a bit disappointing…. Not much detail as I expected, turrets in the rear look bland, and the barrels are awfully too long… And speaking of disappointment, WHY on earth or garmilas would somebody install a giant physical shield on a Zoegullet class super-dreadnought which does nothing at all?!? These giant battleships are going to be the ultimate fail-gag in history…. So much for my excitement for the return of the Gamilias super-dreanoughts….

  2. Yamato firing at the ceiling of a dock? Some sources on Y2202 say she was relieved from service and placed in a museum. I would interpret the scene in question as a violent breakout by the Yamato crew hijacking their trusted ship.

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