The Vulcan people flow from Sumer. In their world, mechanism and mystery are united.

Eiichi: When the plane fell into the Potomac river, some handed their lifejacket over to others and then died. Then there’s the heartwarming story of putting a woman on the lifeboat during the sinking of the Titanic. The reason it becomes a heartwarming story is that human beings don’t usually do such things. When a tough guy gets on a National Railways train [in Japan], he rushes for a seat. This is what people did during the crisis at Planet Vulcan.

[Translator’s note: the place crash in the Potomac mentioned above happened only a few days before this meeting. Read about it here.]

Kasahara: Egoism. It refers to a culture of hate.

Eiichi: If the gene was inherited from the time of the flood of Noah, it seems to put oneself first in the case of an emergency.

Kasahara: People have hatred along with love, and there are views that human nature is both fundamentally good and fundamentally evil. The human beings of this work also have egoism and altruism. It is divided neatly into two. The good one is Aquarius, and the bad one is concentrated into Vulcan. We have a world of utopia, and a world that makes a virtue of evil.

The persuasive power of the logic of evil comes out. A bad person has much more persuasive power than a good person in drama. In that sense, they are human. They escaped from Earth once upon a time. Back then, it was obvious to them as humans that they had to escape the Earth. We should look at them as pitiful people carrying a burden of sadness.

Hideaki: The presence of Aquarius is a rarity.

Kasahara: Glaringly so. Philanthropism is a terrible thing. Tens of thousands of people live in the big city satellite where the punishment of death-by-firing squad happens every day.

Eiichi: I’d buy that once I know their planet is wiped out. In order to preserve one’s own life, betrayal becomes a virtue.

Kasahara: Regarding the Vulcans, the Aquarians, and Earthlings, it will be confusing if we don’t set them up with a triad of color-coding. If it’s basically an evil empire, it is a concentrated world of evil. When the leader of Vulcan meets the ancient Queen of the Water, we can see they are a heterogeneous culture. I think at that point, even this man would be shaken. There should be a flicker of doubt that runs through the logic of evil.

You remove the unrest of the heart and advance one’s own logic, and war breaks out. When Japan and America fought a war, America clashed with the depth of Japan’s culture and in fact had a great sense of fear. How about that image for a picture?

Nishizaki: It must definitely be a humanoid type. Although we said their rocket would be like a rock, if we assume they met with an alien civilization several thousand years ago, it’s conceivable that some could have left in their own rocket. But since that’s impossible, I’d rather go with the alien theory.

Kasahara: What happened to the aliens? Did they become mixed-blood?

Nishizaki: The idea is not that they mixed blood, but that they mixed their culture.

Eiichi: It’s better not to make it too complicated. Whether aliens arrived there by chance and they captured a rocket and escaped, or an alien landed and helped them, a simple choice is better than murdering the aliens and taking their heterogeneous women.

Masuda: Where did the aliens who rescued them come from?

Eiichi: I think it’s enough to say the aliens arrived there by chance.

Hideaki: In the ruins of the Inca civilization, there could be a record of alien visitation. I wonder if we could use that.

Eiichi: The ruins of South America are newer than that. When we say 10,000 years ago, it would be around the time of Sumerian culture.

Kasahara: What about the religion of the Vulcans? Would they cut out a human heart on the altar and offer it to God like the Incas, or worship something like fire in the flow of their heritage, or would they have a world only of science?

Eiichi: Since they were temple cities at the time, the ruler equaled the supreme shrine, right? When you start from the top of the figures on the Sumerian clay tablets that were left behind, there’s a figure that resembles both a horse and a human.

Kasahara: Let’s make it a temple. How about a world where mechanisms and mystery are combined, with a stone statue in the middle of a space city?

Eiichi: And part of that city could resemble Sumerian ruins.

Nishizaki: The carrier is a completely mechanized space city, it it would be good to have a touch like that in the center. I think we should use cyborg horses when they go into battle. There could be a division that rides horses and fires darts.

Eiichi: If we have that, we should definitely use the design of the horse in the ancient remains. A horse with a human face appears. It would be interesting to combine that with a cyborg horse.

To gain affection and sympathy from the audience, I want to give Yamato itself a personality

Kasahara: Since we’ve put the framework in place for Vulcan, Yamato is next. In the case of Yamato, what we need to settle on is the matter of Okita.

Nishizaki: I want to use Okita if we can.

Masuda: If Okita goes with Yamato from the beginning to the end, what kind of situation does it become? Does he appear after the galactic collision, where Dessler’s destruction is confirmed ?

Nishizaki: That’s right. And they return to Earth once.

Masuda: There’s a battle on the way back, then they return. On the other hand, Vulcan gains control of Aquarius and approaches Earth. So Earth is in an uproar. But Yamato is damaged in the battle. People trying to escape Earth are defeated by the advance guard. The rebuilt Yamato defeats them and heads for Aquarius.

Nishizaki: I’d like to make the decisive battleground somewhere considerably far away from the water mass.

Kasahara: After they see the last of Dessler in the beginning, Yamato is attacked on the way back. At that point, because of an enemy bomb or something, the entire crew passes out. However, an automatic device activates and even though nobody is able to move, the ship fights on its own. And then, as it’s beaten to a wreck, Kodai and the others return to Earth. That’s how we could give Yamato a personality and let the audience feel sympathy for Yamato.

Eiichi: When the enemy tries to attack Earth, they need to beat Yamato first. You talked about the impact of a bomb, it could emit waves that put the human brain to sleep for a while.

Kasahara: Like a neutron bomb. It causes the crew to fall asleep and an enemy attacks. They think they already finished it off, but Yamato is different. I’d like to give a personality to Yamato itself simply because this is “The Final Chapter.” After all, this is Yamato‘s story. Therefore, Yamato must have the affection and sympathy of the audience. Mr. Nishizaki is reluctant for Yamato to destroy itself and change the orbit of Aquarius, but I think that would deepen the viewpoint of the audience even more.

Nishizaki: Yamato receives an SOS from Vulcan and watches Vulcan get flooded by water. Then they save a boy who was left behind. We could say they return with the Vulcan boy to Earth.

Eiichi: Wouldn’t the story be more exciting if they got someone’s lover rather than a boy?

Nishizaki: We don’t need to force a couple into it. There will be the binding of Kodai and Yuki at the end. The boy could be the son of Dessler.

Kasahara: It’s clearer for the story to call him a Vulcan boy. We could hear about the birth of the planet from the Vulcan boy’s mouth. Or he could occasionally do something bad since he inherits the evil cultural traditions of the Vulcan race.

Eiichi: Even if he does slightly bad things, he wouldn’t think of them as bad. “Why is it bad?” If there was one piece of candy an Earthling would divide it in two, but he would eat it all himself. “If I starve, I’ll die, therefore giving food away is bad.” To a Vulcan mind, it’s right not to think of other people. On Vulcan, it is considered virtuous to put oneself ahead of others.

Kasahara: Yuki could teach it. Yuki brings it up when the boy eats candy. That’s when the boy comes to understand it for the first time.

Nishizaki: Anyway, Yamato picks up the boy and gets damaged by an enemy attack on the way back to Earth. Earth is in a state of panic at the approach of Aquarius.

Kasahara: We have to be careful in illustrating the details of the panic.

Eiichi: It is considerably different from what the astronomers calculated. Panic breaks out, and the Earth government makes emigration plans.

Nishizaki: The plan is made to go to the 13th planet of the solar system, and transport ships assemble in every country.

Eiichi: Some start to take off and the attack begins.

Kasahara: One small thing that could come out is that all boots and umbrellas are sold out because a heavy rain is coming.

Hideaki: Mr. Shirato mentioned a mind-wave. But what about Analyzer?

Shirato: One of the attractions of Yamato is properly showing the steps of a process, so we would show the preparation of the mechanism from the starting point at takeoff. There is resistance to it becoming a super-automaton that can return to its origin point, but I think it will work effectively if we put enough thought into it.

He was a unique character.
Therefore, Okita is revived.

Nishizaki: We’ll think a little more later about the matter of Okita. It would be meaningless for him to appear if there is no crisis situation. Yamato comes back with fairly severe damage. It is because Kodai ignored the command to “return to Earth.” Kodai is made to take responsibility and is removed as captain. Naturally, Kodai is troubled.

Eiichi: Okita’s appearance should not be a small thing. Okita only appears because something overwhelming happens.

Kasahara: So, Yamato is at a crossroads of destiny where Yamato itself might be lost, but it won’t be a story if there is no plight of Kodai connected to it.

Nishizaki: The interception fleet of Earth launches, but they’re soundly defeated since there is no battleship left. Then Yamato comes out at the end.

Kasahara: Yamato comes back. Earth is panicked by the approach of Aquarius and carries out the emigration. There are aerial battles and they are damaged. Then Yamato launches on the last sortie. However, Kodai is demoted for violating orders, so he boards a small ship and heads for Aquarius to negotiate. He’s attacked on his return to Earth. Just as we think it’s all over, Yamato appears unexpectedly with a boom. Okita is on board.

Nishizaki: Kodai would go into battle on another fighter, but he wouldn’t go as far as Aquarius. We make it so that Yamato has been abandoned temporarily. Yamato is restored, and when the crew gets on board, Okita is there. Rather than having Okita appear in space in command, it’s better to encounter him along with the people gathered for the repairs.

Once Okita is aboard Yamato, in the last two-thirds to one-half of the movie, the fight with Vulcan, negotiations with Aquarius, and everything after that is a point of contact with Captain Okita. It would be difficult for other ships to negotiate with Aquarius. If it isn’t Yamato, the gravity of Yamato would thin out. The battle in the beginning should be fairly flashy. Yamato gets battered. The story of Yamato would fill the first half, about one hour. I think the meaning of bringing back Okita will be lost unless he’s on Yamato for the second half, about an hour and a half.

Kasahara: I don’t think the drama of Okita and Kodai’s reunion will have meaning if Kodai doesn’t have his plight and fly off into space again.

Eiichi: How is Okita alive after all this time?

Hideaki: We’ve made a big deal out of the scenes at Hero’s Hill.

Nishizaki: He could have been restored by the water of Aquarius. We can’t raise the lid and have him rise out, but we could say he’s been living somewhere in secret. There would be problems with him being a clone, but Mr. Toyota says he should be one.

Shirato: It would be unbelievable, because we showed the scene where Okita dies.

Nishizaki: There isn’t that much resistance. Kodai has seen both Dessler and Mamoru revived.

Masuda: The problem isn’t that we shouldn’t have him appear because he’s dead, but rather that having Okita show up would turn Kodai and the others back into kids. It would mean reversing the growth story of the young boy. In the climax of Farewell, the image of Okita appeared in Kodai’s mind and told him how Yamato could get back on course. If Okita appears in the flesh, we would be regressing. People in our audience have been growing up, too.

Shirato: Even though he only appeared in two or three scenes in Farewell, Okita’s presence was amazing.

Masuda: The theme is such a thing. It is a story of growth. How will you become strong as a man? By determining it yourself, through your own anguish. Kodai grew up step by step, through trial and error. This time he will bind with Yuki at the end. If Okita appears, Kodai will immediately be under his command.

Nishizaki: Yamato moves at the command of the captain. I want to write it in the sense that the ship and the captain share the same destiny, and Okita is the only player that fits. Since this is “The Final Chapter,” I want to revive him. Yamato goes to its death, and Okita can really die, too. Kodai will go on to surpass Okita. Furthermore, if in fact Kodai and Yuki come together as a new generation, Okita can talk about what it is to be alive. Such a character is truly unique. So Okita is revived.

Kasahara: Let’s think on that premise.

Let Kodai die and revive by the same method that Okita revives

Masuda: As far as Kodai’s involvement goes, in the first story let’s change it to when he [Okita] was alive.

Nishizaki: We’ll return to the origin of “space is an ocean, Yamato is a ship.” The ship moves due to its captain, and no matter what happens, the captain is indispensible. If we center on Kodai this time, we won’t have that story.

Kasahara: The post of a ship captain is highly enshrined. When Kodai is there, the children watching feel a sense of incongruity. If the children watching Kodai are in their early teens, he must always be around the same age, in his late teens. Therefore, it’s best if we only refer to him as a deputy captain.

Nishizaki: Kodai came to his position in the TV series through great hardships. It wouldn’t look right to have him just land, BOOM! in the big captain’s chair to that extent.

Shirato: Well, in those days, it turned out at various times that he didn’t look good wearing the hat in that chair.

Kasahara: Anyway, it would be better for Okita not to appear before the movie comes out. There’s a scene where Okita and Kodai meet. Kodai is surprised. Everyone should be surprised.

Eiichi: It will be a surprise. And then we’d get questions like, “Why are you alive” and such. Maybe we should say the truth is that he was in the country or something like that. So there’s this really cool reason for it. I’d rather Okita went into a vegetative state when he died, or something similar, and that he was revived. That you could take more seriously.

Kasahara: He died once. They put up a bronze statue of him, but in fact he became the subject of a life-revival device that was being developed at EDF headquarters.

Nishizaki: How about we also use it for Kodai? He’s wounded and he dies on the way back to Earth. Then he is revived.

Kasahara: Kodai revives quickly, but it took a longer time for Okita.

Eiichi: The corpse of Okita was preserved like Lenin, or Mao Tse-Tung.

Kasahara: Anyway, it’s a secret. Let’s say it was developed in strict secrecy and succeeded. Susumu Kodai is made to revive with the device in a short time. With Okita, the EDF adopted the measure secretly. Not even Kodai knew of it.

Hideaki: If this is a world where a dead human being lives again through a revival device, the meaning of death would fade significantly. Think of all the people that were killed in battle on Yamato. The heaviness of that would be lost. If people ask why this wasn’t stopped, we can say it was because they were exposed to special radiation.

Kasahara: That’s good. It would be good to do it with Kodai.

Nishizaki: He opens his eyes, and Okita is standing there. We could even make Okita the head of the research institute. His appearance is supernatural.

Shirato: What if he lost one of his arms?

Nishizaki: That would be good.

Kasahara: Right after Kodai is revived, Okita appears. If we do that, the need for an explanation disappears.

Because it is the last mission, Yamato should be accompanied by about 10 surviving vessels in the fleet

Nishizaki: There’s something we have to decide later. Yamato and Kodai are battered and return with the boy of Vulcan. Earth is under attack, and a fleet launches. Meanwhile, Sanada and Shima desperately repair Yamato. Then they launch in about one hour [of screen time].

Hideaki: I’m afraid that would be too little time.

Kasahara: This will be the start of Yamato‘s final launch. It’s best to postpone it as much as possible.

Hideaki: It will be the last time, since it isn’t coming back to Earth. Various different elements of the story come in here. Maybe an hour and a half.

Kasahara: The situation should build up as much as possible before Yamato launches, or its impact will be weakened.

Eiichi: Yamato makes a fresh start, and shouldn’t go into the last decisive battle right away. There should be various hardships along the way, for about an hour and a half. As it was described in Mr. Toyota’s setup, the wave gun of the enemy is powerful enough to punch through Yamato‘s armor. They’ll need a defense against it.

Kasahara: Though it’s the launch of Yamato and it carries out various missions on the way to Aquarius, will the situation be the same as the last mission of the battleship Yamato, with the suicide attack? Is it a mere expedition, or will they never be able to set foot on Earth again?

Nishizaki: They must understand the Aquarius situation. There is the fear of mechanic attack, and the fear of flooding. At one end, the enemy crushes the humans who try to escape from Earth. They can wait calmly and watch the Earth. Yamato carries out the strike at the enemy headquarters and the rescue of the Queen of Aquarius. In the finale, it blows up to save Earth from the flood crisis.

Kasahara: The biggest goal will be the rescue of the queen. The Earth will be inevitably destroyed if the queen of the water isn’t saved. No matter what the obstacles may be, the first thing to do is save the queen.

Hideaki: Yamato launches as the last battleship that can fight. It would be best to know before the mission that the queen is imprisoned. They’ll strike at the enemy city and aircraft carrier at the beginning, anyway, so it would probably be better to understand everything from the start and build more tension.

Eiichi: When Yamato goes out, have the EDF fleet and emigration ships been defeated? To protect them from damage, Yamato must first hit the enemy’s vanguard that attacks the emigration ships.

Nishizaki: Of course. Maybe we could divide them into two groups. Yamato could attack the headquarters while a rescue squad goes after the queen. In any case, they have to do it during the time limit before the flood. Six weeks, five weeks, or four weeks. Because this is the last mission, shall we attach ten of the surviving ships of the fleet to Yamato?

Eiichi: The major goal will be settled if they rescue the Queen of Aquarius from imprisonment. It’s best to know that from the beginning.

Kasahara: There should be a command to break through all obstacles to save the Queen of Aquarius at all cost. This is Yamato‘s sole mission. Therefore, the surviving destroyers and such that follow along will fall quickly. Yamato leaves them behind. On the way to Aquarius and the enemy stronghold, it’s natural that they’ll feel regret.

Eiichi: The purpose of the mission becomes stronger.

Concerning the enemy boy, Sado’s homosexual personality, and Analyzer’s jealousy?

Nishizaki: Will the enemy and the people of Earth understand that they share the same origin?

Kasahara: They could come to understand it from their relationship with the boy.

Eiichi: Earth never dreamed that there was such a planet before. Yamato learns of it from the boy’s physiology. Especially from his carbon-based cells and the oxygen components of his system. His genes and chromosomes will be understood as identical to human beings. However, the civilization that progressed on the other side [of the galaxy] has supernatural power.

Kasahara: Sado does the examination. Sado likes the boy very much and stays with him. He takes on the manner of a homosexual. He’s given up liquor, so he likes to have a boy at his side.

[Translator’s note: there’s no error in that text. Keep in mind, this was spoken by an elderly Japanese man in 1982. It might have been a joke, but laughter was not indicated.]

Masuda: Analyzer burns with jealousy.

Eiichi: The question is, why would a being identical to Earth people be in such a remote place?

Nishizaki: The so-called ancient transmigration is gradually uncovered. We’ll use various means to make it mysterious and interesting. Only the main points need to be made.

Kasahara: It’s really solidified.

Masuda: There’s one more fundamental thing. Aquarius is accelerated in its orbit by the galactic collision and approaches Earth. How does it turn out that it gets on a course to destroy Earth?

Kasahara: We said before, it’s a providence of nature that it wouldn’t destroy the Earth. It is moderated. However, the group from Vulcan took control of the queen to shift its course.

Nishizaki: It’s a double feature of evil and a natural phenomenon. We could also consider another kind of crisis for Aquarius. It could collide with Earth.

Eiichi: If Aquarius is destroyed, what women will the humans of Vulcan create descendants with?

Kasahara: I want Aquarius to be a symbol of the universe. In terms of a theme, it represents the natural providence of the universe. It is God, and the reason for the beauty of love. If it gets destroyed…

Eiichi: Then I’m concerned about interference with the orbital correction by other planets, and the self-destruction part.

Kasahara: I see. It’s to deepen the queen’s part in the story. That’s what it’s for. It probably means that Earth would perish if Aquarius falls. The presence of Aquarius didn’t just benefit Earth with water, it was greatly involved with the evolution of life.

Nishizaki: But life could continue in the absence of Aquarius.

Kasahara: No, I don’t think that logic is strange. It’s natural providence that a butterfly perches on a blooming flower and seeds grow on a stalk of rice. Because of the theme, if Aquarius disappears even the Earth could dry up and fall to ruin. That’s the reason Evil breaks the providence of heaven by changing the trajectory. I think the mission of Yamato to return to the source and undo that is the theme of this work.

Shirato: If Aquarius self-destructs, what happens to Yamato? Would there be no suicidal explosion?

Kasahara: If the galactic collision changes its orbit to hit the Earth directly, the queen would keep Earth from being destroyed in this situation, and save it by self-destructing. However, Vulcan stops the queen’s will to self-destruct and makes it collide. In the end it would not collide.

But I think that would be an odd way of thinking for the queen. Her suicide would temporarily save the Earth, but in the long run Earth will lose water and eventually perish after all. The Queen of Aquarius would understand such a thing, and not consider suicide because, while I don’t know if distorting nature’s providence is evil, having even the queen do it violates the theme. We need to have some kind of restraint on her.

Nishizaki: It’s too mechanical in comparison to a god. The scale of such motive power is too large, and having a mechanism at the center wouldn’t feel right.

Kasahara: Even if it blows up, it would have quite an artificial mechanism.

Suddenly, in a cavalry charge, Dessler appears. There is also a charge of Dessler.

Nishizaki: We’ll ask Mr. Toyota for his opinion on the methodology of orbital adjustment. The galactic collision is not the reason the course is accelerated. The reason it changes is because of Vulcan’s interference. When Vulcan changes its course, how can we keep from inhibiting the fantasy image of Aquarius? Is there a reason to bring Vulcan in without changing its course and cycle? I want to think about that a little more.

Anyway, it orbits with a period of 4 billion years. There is resistance when mechanisms get wrapped up in fantasy. The references to the mechanical power of Vulcan aren’t convincing yet. But if Vulcan has some way to change its orbit, it wouldn’t necessarily have to invade Aquarius by force.

Kasahara: With Aquarius a planet which completely wins without fighting, when Vulcan enters it, it’s with a feeling of, “Yes, by all means.”

Nishizaki: I’m thinking maybe there’s nothing the queen can do. Let’s ask Mr. Toyota about changing the orbit. I wonder where Dessler can come in. You said that the aliens from Vulcan emigrated when they are flooded and defeated by Aquarius?

Kasahara: It’s funny. We should assume that there’s a limit to Vulcan’s individual energy. How could something overwhelmed by the water of Aquarius then conquer Aquarius?

Nishizaki: That’s the theme of water as a blessing. We have to think on big terms, that the water that flooded Earth is the same as the water that floods Vulcan, according to the providence of nature. How about Dessler helping out in the final battle?

Kasahara: Wouldn’t it be good in the battle between Yamato and the space carrier? Yamato has the mission of somehow stopping the water that flows from Aquarius.

Nishizaki: But the enemy gets them in a pinch. If the battle goes on like this, it’s hopeless. In that situation, the water can’t be stopped, but Dessler suddenly appears in a cavalry charge. It starts with the charge of Dessler.

Kasahara: Then there’s an encounter of Okita and Dessler.

Nishizaki: Yamato goes to save the queen. Naturally, they beat the enemy along the way. The enemy’s carrier comes out, a big aircraft carrier. Yamato struggles hard with the time limit ticking away. Then the cavalry of Dessler charges in. “Okita!” “Dessler!” and some action…

Kasahara: They pass each other and Yamato hurries to rescue the queen.

Eiichi: Is Dessler leading a wandering fleet?

Nishizaki: That’s the most vital point here, isn’t it? Even if we call it a fleet, it’s a number of ships. Then, finally, the suicidal explosion of Yamato. But here’s an idea; I want to let the planet vanish where the water flows in. I want to use Toyota’s idea of tritium and heavy hydrogen. Since even a hydrogen bomb needs a detonator, that explosion becomes Yamato‘s detonator. Yamato will sink with it.

Eiichi: Does Yamato sink to the ocean floor?

Kasahara: It would probably fly off into space somewhere.

Nishizaki: Or disappear. Anyway, when we come to the suicidal explosion of Yamato, I can’t keep up the drama before and after, and the tritium idea is becoming unworkable. Therefore, I want to go in the direction of initiating an explosion.

Masuda: The idea of tritium is, water has so permeated the core that it’s like a hydrogen bomb now. How big is the planet of tritium?

Nishizaki: Maybe one-sixth or one-quarter, or the size of the moon may be enough. Let’s ask Mr. Toyota about it.

Eiichi: Heavy water is hydrogen condensed to six times as much tritium, deuterium, and so on. If heat and pressure build up in the core of the planet, it will explode like a hydrogen bomb or atomic bomb. The planet itself would vanish from the force of such an explosion. Therefore, it should be at the core of the planet where it is heated, not necessarily an explosion on the planet [surface].

The challenge of the sex taboo in animation

Nishizaki: About the scene of Kodai and Yuki consummating. Although animation has pride in prosperity and there are many genres, there’s one thing that is still taboo. That is sex. Animation has enough style to make even the obscene into something elegant, and also provide a small degree of excitement. But in this genre, it’s so scary that nobody will touch it. In this movie, I’d like to aim for a beautiful impression of a pure and innocent first experience. If we do it right, the entire film industry could easily follow.

Masuda: But how do you specifically depict the virtue of a virgin with movement?

Kasahara: I don’t know much about art, but I think it would be hard to do a sex scene with drawn images. They could dance close together as if in water, and unite in their motions.

Nishizaki: Even if it’s in bed, I think we could just obscure the image later.

Shirato: If it’s a moving image, there isn’t much resistance.

Nishizaki: It only needs to look real until it touches the core. Then it would go to image. [Abstract, or impressionistic scenes.] Some conversation is important too, as well as music.

Masuda: In the last movie, the image scene showed Kodai and Yuki running.

Nishizaki: On the edge of a cloud tinged with gold.

Masuda: That worked well.

Nishizaki: That image of running in slow motion is close to what I’m talking about. But as it progresses, if we don’t properly restrain the real portion before the image comes up, it won’t raise any tears.

Hideaki: In the middle of nature would be good.

Kasahara: Two people enter the sea and seaweed coils around the woman’s body. They deepen their embrace while the man gradually peels it off. And the waves around them glow in patterns.

Nishizaki: We’ll spend a little more time to make it real. Well, even if it’s not in the beach setting, because of the need for drama, you could say that having them do it aboard Yamato would be a bit extreme. I wonder what sort of impetus we’d have to come up with for that, what sort of circumstances we could contrive.

The End

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