As of this writing (July 2, 2012) the opening round of Yamato 2199 has run its course, and the exciting second act has just made its debut in Japanese theaters. We’ll have plenty to say about its reception in our next report, but first we’ve got a lot of catching up to do with media coverage that filled the gap between the two movies.
In this report, we go back to the premiere day of the first movie and take it all the way to the end of May. Report 6 also covered this time frame, but the publications shown here didn’t reach us in time for a fully chronological presentation. So buckle in for some deep cuts.
April 6: Goods Press Magazine, Vol. 286
Tokuma Shoten, the company that brought us the famed Roman Albums back in the late 70s/early 80s and still publishes Animage every month, puts out this high-profile, mainstream consumer’s magazine to report on everything from luggage to watches to personal electronics. There is always a nod to anime merchandising, and in this issue the nod was an enthusiastic one; 15 pages of Yamato past and present.
The article is far too big to fit comfortably into this report, so we’ve given it a page all to itself. Click here to read it.
April 7: Movie Program Book
This was one of the nicest surprises of the first film’s release, a full-color 36-page program book that inherited the high-quality tradition of all its predecessors. The fact that such a gorgeous companion volume would be made for a film only scheduled for a two-week run speaks volumes. An identical program accompanied the second movie, so let’s hope the standard has been set for a full run.
See the book from cover to cover here. Text translations appear below.
Introduction by Ryusuke Hikawa
Space Battleship Yamato is a ship of hope. It launches to overcome the despair of humanity’s extinction. It is a ship that unites the efforts of people for the sake of the future. It can be expressed in other words. Therefore, it is reborn as a symbol. With this new work, Yamato 2199, it is recognized as the most important thing.
The original Space Battleship Yamato appeared on TV October 6, 1974. The term “anime” was not yet in common use, and together with Tokusatsu [special effects] programs, it was considered a children’s genre called “TV manga.” Space Battleship Yamato changed this situation. It was very different from its predecessors. It had a big story and visuals on a scale more suitable to teenagers. Yamato pointed the way to a great future, and came to be referred to as “anime” to distinguish it from what had come before. The aura with which it was made came through directly from the screen.
Counting from 1963, it had been more than ten years since Mighty Atom [Astro Boy], and for the generation that had watched anime until they reached the age of discretion, there was a phenomenon of synchronization that anime had grown up, too.
However, at the time of its first broadcast, Space Battleship Yamato was defeated by low audience ratings. The 39 episode plan was shortened to 26. At that time there were no video decks or anime magazines, so once it ended it would vanish. The feelings of the viewers in those days was the same as that of the characters who looked with despair upon their contaminated Earth. And like them, we had to take positive action. Along with friends like Yamato 2199‘s writer and general director Yutaka Izubuchi, I formed an early fan club.
These actions went through a maturation period of over two years and came to fruition in 1977 when Space Battleship Yamato took revenge with its premiere in the cinema. Fans surrounded theaters and stood in line overnight to see it on the first day. This sensation was picked up by the media: “Teenagers and college students are crazy about anime!” This recognition spread around the world and completely revolutionized the situation.
Animage, the first anime periodical, debuted in 1978 with Yamato on the cover. The flow of information was improved by this specialty media, and young people who were inspired to become the next anime creators jumped into the production scene. This opened the road that later lead to hit records and home video. On the inside, one high-target work after another was built and titles with great longevity like Mobile Suit Gundam were born. Going farther, this lead to the long-form anime works of directors Hayao Miyazaki and Mamoru Oshii, cosplay and late-night fetish anime, and even the international adoption of the word “anime” for entertainment works from Japan. All this and more was cultivated from Space Battleship Yamato‘s position at the cutting edge.
However, speaking as one who was present at the scene of the crime, I don’t want to set up Yamato as the ultimate object of “respect” and “worship.” The story of Yamato itself created “motivation” in the viewer by releasing a great amount of energy upon contact. If that energy is transmitted across time, it inspires strong hope for success.
Yamato‘s journey takes it across the galaxy on a scale of hundreds of thousands of light years. It is a realm of magnificent nothingness that presses in with hardship to promote despair. For the people still waiting, the feeling that this mission must be accomplished is the energy of the “starting point.”
In the story and picture of Yamato 2199, there is a truth that exceeds the frame and the nostalgia of a remake; there is a will to look back at the “revolutionary starting point” and the time when it was needed. Both the staff and the audience brace themselves with this recognition, and I think I’d like to take the grand voyage from that starting point for the next year or so.
Although based on a previous work, it is rewarding to create a new character
Daisuke Ono, voice actor for Susumu Kodai
Daisuke Ono, voice actor for Susumu Kodai
Space Battleship Yamato was made before I was born. I knew there was something called “Yamato,” and I recently got to know it well. My first encounter with it was a DVD I bought of the first movie. I could sing the theme by Isao Sasaki, and I think that song has great power. After all this time, I think it still touches the Japanese soul.
When I watched it, I thought it was a monumental work of SF. Like the foundation of previous works, it still has not faded. While having eleborate settings, there is also a very dynamic pace, and it is refreshing to watch. I started watching the TV series as the voice recording progressed. After getting to know the flow of the story from the movie, I look at the details of each episode. Even when it is boiled down and shifted around in Yamato 2199 after discussions with the staff, I think it has a good viewpoint.
I’ve been allowed to take the role of Susumu Kodai, and since he is considered the hero of a great historical work, I feel the pressure. A lot of my seniors told me, “You’ve got the role of Kodai? Do your best with it.” I felt again that it was a remarkable work, and that the role might be too heavy for me to carry on my back.
When I look back at the original work, his reason to fight is simple. He wants to take revenge for his brother. In that way, he is a hot-blooded person, and I thought I would perform that passion carefully. In the Kodai that I play, in addition to the rough feeling that comes straight from his passionate heart, there is another part that I’m saving somewhere. It was handed down from the picture.
Compared to the previous work, it is interesting that the relationship between Kodai and Shima is reversed. Shima is comparatively brighter and easygoing, in contrast to Kodai who seems to be in shadow. In that way, though the character is based in large part on the original, I can make him partly new and that’s very rewarding.
In fact, Director Izubuchi said, “You don’t need to do it the same as the old days, I’d rather that your feelings fit the picture.” That was reassuring.
Speaking of pictures, there is a connection with Nobuteru Yuuki, who did character design for my debut anime, Heat Guy J. Mr. Yuuki’s work has great presence for me, and it is a personal pleasure to work with his drawing of Kodai.
For Yamato 2199, the staff has put all of the passion handed down from the old days into building a new thing. I think it is an honest adventure that will change traditional works. It is transmitted from a point of courage, and the finished film can be enjoyed by a wide range of fans, from first-timers to those who know the original. As it was with the former Yamato, Yamato 2199 is a pioneer, and I want its soul to set the standard for SF anime in a new era.
My role this time is to arrange the song called “Space Battleship Yamato.”
Yutaka Izubuchi, General Director
Interviewer: First, please tell us about your first encounter with Yamato.
Izubuchi: To tell the truth, I missed the first episode [of the TV series] and started watching from episode 2. I knew about its existence from Terebiland magazine, but even I thought a boy of junior high or high school age standing around in a bookstore reading Terebiland would seem weird. (Laughs) I didn’t buy it at the time, but there was a series of articles in every issue, and the manga by Yuki Hijiri. Later on, I called up the publisher, Tokuma Shoten, and asked, “Do you have any back issues?” The guy said, “come over,” and I thought I could buy them, but he gave them to me instead (laughs). And he even treated me to a coffee.
Interviewer: It was a shocking work, after all.
Izubuchi: I thought it had a completely different approach from conventional anime. If anything, I was a fan of Tokusatsu before then, and at the time I thought the depiction of mecha in anime was kid’s stuff compared to the splendor of ITC (starting with Thunderbirds) and [Eiji] Tsuburaya. I thought it would be difficult to animate mecha, but it still lost out to live-action.
But Yamato was different. The moment I saw it, I was shocked and I thought, “Amazing! This not only doesn’t lose out, it’s even better!” Of course, it wasn’t just the depiction of mecha, I was very much drawn into the story. However, the inconvenient circumstances were that I had to go to Miyake Island when the last episode was on. I belonged to the hiking club in junior high and had to go their for activities. I checked on it, and learned that I would be on the ferry at broadcast time, 7:30pm. I begged my parents for an advance on my allowance so I could buy a portable black & white TV. I said, “This is absolutely necessary!” (laughs)
My friends asked, “Why did you bring such a thing?” And I explained, “Because I absolutely have to watch Yamato!” (laughs)
The reception was questionable and I had to adjust the antenna hard on deck. Anyway, Yamato was certainly my personal opportunity to turn the ship from Tokusatsu to anime.
Interviewer: When you started working as a designer for anime, you participated in Yamato III as a researcher of historical SF.
Izubuchi: That was related to me sticking my foot into SF fandom. I got to know Takashi Hoshi, who studied under [SF/Yamato writer] Aritsune Toyota, and I thought I could connect with Mr. Toyota from there. Mr. Toyota and Mr. Hoshi were doing historical SF research for Yamato III, so Mr. Toyota could take ideas to [Exec Producer] Yoshinobu Nishizaki, and they needed someone who could communicate the ideas visually. So Mr. Hoshi asked me, “You like Yamato don’t you?” And I said, “Of course I do!” in answer to the opportunity.
I had already worked on Fighting General Daimos and Invincible Robo Traider-G7, designing enemy mecha, and I couldn’t stand just doing illustrations for historical SF research. I raised my hand and said, “I can also do mecha design if you’re short-handed,” and I was allowed to do a few.
I was 21 or 22 years old at the time and scared of nothing, so I argued several times with Mr. Nishizaki in meetings. I said “it’s silly” to wear a flapping cape with a space suit. (Laughs) Mr. Nishizaki said, “I know Yamato much better than you do.” He took such an attitude, so I couldn’t back down. But he talked seriously with a nameless 20-something brat like me, so I appreciated it.
Interviewer: For Space Battleship Yamato 2199, why did it take the form of a remake rather than something new?
Izubuchi: Needless to say, I wanted to do it because I liked it. The original is wonderful, but on the other hand when I see it now, there are a lot of parts where I think, “It would be more consistent this way.” I wanted the story part and the scientific part to fit together perfectly, and if this made it a plus-alpha [over the top] work, I intended to push it forward actively. I never thought about making a different thing using Yamato subject matter.
Interviewer: There are many things (and scenes) that augment the original, but were there any conflicts for you as a director between the [original] story and the renewal parts?
Izubuchi: There are some things in Yamato that cannot be removed. The red Earth, the battle at Pluto, the relationship between Okita and Mamoru Kodai, the wreckage of the sunken battleship, leaving the solar system, the battle at the Rainbow Star Cluster…a lot of things. I believe I can incorporate them into the story and I also believe I can incorporate my own drama in the spaces between those stories.
What I’m trying to do with Yamato 2199 is reconstruction. Therefore, I don’t intend to tamper with the fundamental flow of the story. Of course, certain small parts can be changed. That could change the drama, but not the flow of the story. The character of Kodai in the old days was described as merely “hot-blooded” or “impulsive,” but it’s no longer valid just to say that.
God dwells in the details. Those details build up, and I think they bring compelling power to a picture. For example, in order to achieve proper language this time, we’re using words from the Maritime Self-Defense Force. Instead of Ugen [starboard] and Sagen [port], we refer to them as Mikigen and Hidarigen.
Since the war with Gamilas started eight years ago, we should see the unspoiled blue Earth as it looked then when we fly to eight light-years away. The Yamato crew will see Earth as it was eight years ago and swear, “We will continue this voyage to regain that.” This was a great idea by [scriptwriter] Hiroshi Ohnogi, and I intend to incorporate such things properly.
If I compare Space Battleship Yamato to a piece of music, my role this time is as an arranger. I think arrangement decides the quality of music. A bad arrangement can ruin music even if it has a good melody. Therefore, to make the great melody line of Yamato even better, I am testing my ability as an arranger this time. That’s how I look at it. I mean, how do I direct a great tune [i.e. the work], or how do I set the speed, high or low.
Interviewer: As a director, where do you position Yamato 2199 in a series that has been around for almost 40 years?
Izubuchi: We fans who watched it in real time are reaching the age of about 50. Even if someone just says “Yamato,” there was a span of about 10 years from the first series to Final Yamato. Therefore, I don’t think our opinions will match that of the generation that became fans after Final Yamato, even if you also call them Yamato fans.
Still, there are creators like me who entered their career because of Yamato‘s influence, even in that generation. Therefore, the staff that can be called the “children of Yamato” considers making Yamato 2199 as a purification ceremony. I had a wish that I could restart history. To tell the truth, I thought so after I got this job. (Laughs)
Anyway, Yamato is an important figure and also a hard nut to crack. Naturally, there is a lot of pressure, since it is a remake of the first work. When I took on this offer, I couldn’t stop talking about it with a friend who I trusted. “I pulled a chestnut out of the fire!” (Laughs) And my friend said, “You’d better stop, or it might turn out to be a molten lump of iron!” And I was admonished.
Interviewer: However, the ship called Yamato 2199 launched again. As the captain, what’s your message to the fans?
Izubuchi: I think every fan of the original has an image in their mind of “their Yamato.” But because we don’t plan to remove the foundation, I hope they can go back to basics and enjoy this restart. And without putting too much information in for those seeing Yamato for the first time, everyone can enjoy together seeing what kind of journey Yamato will take. We won’t compromise the quality or the power, and I want to thank you in advance for staying on until the end.
April 24: Figure King #171
It’s been a long time since anything Yamato-related appeared on the cover of this toy collector’s magazine from World Photo Press. The last time was June 1999, when issue 22 published a big cover story on Leiji Matsumoto. This is understandable, since the magazine is devoted to character figures (both sculpted and poseable), not a category Yamato is best known for.
The magazine hasn’t been silent on Yamato 2199, but previous issues showed nothing more than could be found on the official website (on just two pages per month). But #171 put Yamato on the cover and expanded the coverage to 9 pages, one of which featured a new interview with one of our favorite mecha designers, Junichiro Tamamori. (Read our interview with him here.)
See the pages here.
Interview with Mecha Designer Junichiro Tamamori
The Cosmo Zero is a young Samurai, and the Cosmo Falcon is an armored knight of the West.
Born in Okinawa under the US military occupation. With a background in industrial design, he is now active in the field of mecha design and concept design. His major works are Asobu ni Ikuyo! [We’ve Come to Play] (OVA/2004), Amuri in Star Ocean (OVA/2008), and Scarecrowman (TV/2008).
From Mr. Tamamori, who comprehensively designed mecha for the Earth side in Space Battleship Yamato 2199, we were treated to deeply profound knowledge and awareness of his craft. To take in even a little of his consideration for the nature of mecha’s existence, it will be good to review his work again.
The background of the new project
Although I’ve been working in the industry for the past ten years, I was actually acquainted with Director Yutaka Izubuchi, and I talked with him about designing mecha for another project before this one began. I first met Mr. Izubuchi through fanzine activity with manga artist Michio Murakawa (now drawing the 2199 adaptation), who introduced us. At the same time, mecha designer Yasushi Ishizu (now mainly designing the Gamilas side) found my website and introduced me, too.
That was before the project began and I half-jokingly said, “Let’s do a Yamato remake.” I was surprised that the remake really came to pass several years later.
The appeal of Yamato mecha
When I watch the original work, it carefully depicts the operation and movement of machinery, and reminds us that the heroes of the story are humans. The appeal of the mecha comes when they check their instruments to achieve their purpose. When they manipulate them or pull a lever, you can glimpse the essence of the machine.
There is extravehicular activity with manipulator units to perform welding, load the space truck with materials, and repair the hull. There’s also an episode where they suit up to go out and remove space mines by hand. In this way, the drama makes proper use of the essence of mecha as a tool for people to overcome difficulties. This is the appeal of Yamato that caught me.
In my mind, I work to convey the charm of the original work to a young generation. Although I explored new images in the concept stage (figure 1), the “basic line is unchanged.” When that direction was decided, the theme became how to bring new value to a design that looks the same at a glance, and how to make it appealing for the giant robot fans who are accustomed to combining and transforming.
The main body of Yamato was especially difficult. Since many people have their own image of it in their heads from design art or scenes from the original work, I analyzed how the image was expressed with plastic models, toys, and the ill-conceived products of the first series, and thought about how to give it a dignified modern image.
Naturally, I am conscious of the connection with the IJN Battleship Yamato. Many fans settled on the modernized, curved hull shape seen in Farewell to Yamato. In deference to the three-view isometric drawings by Kazutaka Miyatake for the first series, I intended to pin down this framework as the starting line for this Yamato.
Because the Cosmo Zero’s depiction is inconsistent between the design drawings and the on-screen action, I had a considerably hard time with it. I put it together as if it were hand-crafted by a master, and the antenna-like projections of the wingtips evoke the image of a katana [Japanese sword]. When viewed from the front, the perpendicular vertical/horizontal configuration of the wings predated the X-Wing from Star Wars, and we’re careful not to lose the strength of such mecha characteristics.
To that end, the Cosmo Falcon has many functional factors including variable nozzles and the way we use panel lines and such gives it a finish that is appropriate for a “battle machine.”
Design of the new mecha
Before The Cosmo Falcon design, I made the following general design concept of carrier-based spacecraft: whereas the Cosmo Zero is a young samurai in Japanese armor, the Cosmo Falcon is an armored knight of the west.
When the ideas were submitted for the Cosmo Falcon, Mr. Izubuchi summarized the basic form as a mecha designer and I took charge of the final detailing stage.
For the Type 100 “Search Boat” from the original, I took the approach of a small ship equipped with a rocket anchor (figure 2) with the intention (at Mr. Izubuchi’s behest) of surpassing the elegant, flowing version by [manga artist] Yuki Hijiri. In the end, the Type 100 has the impression of a boat handled like an airplane.
Although I don’t think it’s reflected in the actual story, it has been hypothesized that Yamato‘s design changes shape throughout the story as its parts get repaired. It probably wasn’t made perfectly in the first place, and anyway it is a strange voyage. For example, the muzzle of the Wave-Motion Gun may change after the first test firing, and other forms like the bridge structure may change after armor plating is repaired.
The bulging hull that corresponds to the Battleship Yamato‘s ballast tanks has been integrated into the body as spaced armor, but the beam unexpectedly provides protection against sea water when diving on Pluto, and I think it’s fun to watch it in the battle even if you don’t like the width of the augmented armor bulge. The images have been produced to take advantage of CG and a pride in hand-drawn art in this era of high-definition video, so watch it on a big screen by all means.
The Yamato products a mecha designer hopes for
As for the main body of Yamato, there is a quality of Yamato-ness that may come out for those who like to deform their plastic models. When modification parts become available that might change the shape of the Wave-Motion Gun muzzle, I’ll be glad to modify it to my taste.
I’d like to have a Chogokin [super-alloy]-style Kirishima, since its design has a particularly good feel of weight. Also interesting is the movement of the single-action nozzle cover that opens the bow or the stern, and the moveable blades on each stabilizer wing. If there is a safe method of lighting the main batteries and the bow gun on a toy, the beam would shine out with strength (or feeling).
As for the Yukikaze type, I’d be glad if it came with landing gear. Other than in Yamato, it doesn’t seem like any of the battleships in Sci-Fi movies have wheels with landing gear. And there should be decals with ship names.
Hope for the Yamato design
The basic design of the mecha is finished, and now I’m designing the details of Yamato‘s exterior as stages where the crew plays their active role. In the future, I hope to see the activity of the Earth fleet in a spinoff work that changes the face of the Yamato‘s SF voyage. Personally, I’d be very glad to be involved in such a production. I want to continue pursuing the design gap between fantasy and reality in the future.
May 25: Hobby Japan and Dengeki Hobby (July issues)
2199 articles again appeared in these issues of Japan’s top hobby magazines, both of which teased the forthcoming second movie and ran their first major announcements of the upcoming model kits from Bandai. (Not to mention a Yuki Mori figure on the way from Bandai’s toy subsidiary Megahouse.) Dengeki also announced a Yamato 2199 modeling contest, with entries to be shown in a future issue.
See the Hobby Japan pages here. The Dengeki content is shown below.
Finally, Space Battleship Yamato has launched into space.
This month, we meet the president of the Gamilas Empire, and the voice actor for Dessler has been chosen. This phenomenon can be read about simultaneously with a description of the Gamilas nation. It has been decided that Dessler’s voice actor is Mr. Koichi Yamadera!! And scenes from the long-awaited chapter 2 are also shown!
In Episode 2, “Into the Sea of Stars,” Gamilas forces launched a ballistic missile between planets toward Yamato. In Yamato 2199 the G Forces (as they are called in the show) are given considerable respect.
Shulz and Ganz in particular are the officers stationed at the advance base on Pluto. Although they have the same “flesh color” as Earth people instead of the peculiar blue skin of Gamilas people, it happens that this follows the cel paint color chosen in the original series. But it was not simply a matter of following colors. In 2199, this skin color is accompanied by a new term: “2nd grade Gamilas servicemen.” This is the rank given to people from a planet conquered by Gamilas, giving the impression that their rights and obligations have been subjugated. So it can be surmised that the version of Gamilas in 2199 is a nation similar to the so-called Roman Empire.
This new concept is excellent. In this way, you can naturally picture Gamilas as a huge militaristic nation that expands its territory across space.
In Chapter 2, “Desperate Struggle in the Heliosphere,” which opens on June 30, the Gamilas army is fully revealed at last. Those who know the original work can already imagine which scenes will be shown. What kind of people are the Gamilas of Yamato 2199? We can look forward to that now.
May 25: Weekly Ascii, Akihabara Edition
Published by Ascii Media Works, Weekly Ascii is a magazine dedicated to digital electronics. As Tokyo’s world-famous “electric town,” the Akihabara district gets its own special edition, given away free as a shopping guide with related content. A section named “Animemo” touches on the latest hits, and this issue added another interview with Daisuke Ono (Kodai’s voice actor) to the growing pile. Note: the term “afreco” appears in this and other upcoming interviews; it’s a shorthand term for “after recording,” the process of recording voice actors after animation is finished. This approach is unique to Japan, since American voice actors are recorded before animation begins.
The role of Susumu Kodai: Interview with Daisuke Ono
Following the “Royal Road” in the “New Yamato”
Interviewer: First, please talk about how you’re tackling the role of Susumu Kodai.
Ono: It’s the primary role in what can be called the pinnacle of SF anime, and when I was chosen for it, I was very surprised and honored. The main thing is that it is inherited from the original work, and though I was worried about how to play it, director Izubuchi told me, “if what you feel from the character design of Nobuteru Yuuki is tailored to the present day, that will be the correct answer.” Now I can perform without being excessively enthusiastic.
In Yamato 2199, the character of Shima Daisuke provides a contrast to Kodai. He’s more lively and passionate. On the other hand, Kodai isn’t as reckless. He is more restrained and he’s become the type whose fighting spirit burns inside as he calmly assesses the big picture. This is communicated by the character art.
Interviewer: Since this change was made to the character and is not carried on from the original, is your frame of mind to play him as usual?
Ono: Yes. It has the same wonderful feeling as other afreco works, I can tackle it with the same attitude. I have Director Izubuchi’s input too, and the large cast is well-balanced. There are those from my generation, such as Mr. Suzumara as Shima and Ms. Kuwashima as Yuki, there are veterans in the center like Mr. Sugo in the role of Captain Okita, and the younger generation is referred to as the junior reinforcements.
The recording booth is like Yamato‘s bridge itself. It’s harmonious and also has a feeling of tension, so it has become a very good “bridge.”
Interviewer: Do you feel like the recordings are done with a slow and careful feeling?
Ono: The cast has the role of making the “new Yamato,” and the staff has the role of protecting the “old Yamato.” The feeling of commitment is matched everywhere in the recording. For example, there’s a certain intonation for “captain,” or “port,” or “starboard.” Until it fits into that narrow strike zone, the retakes pile up before we finish.
Interviewer: With so much density in the recording, is there any room for adlibs?
Ono: I thought adlibbing would probably be difficult, but Mr. Chiba is the king of adlibbing in the role of Dr. Sado, so I boldly thought, “I can do it, too.” Rather than adlibbing words, we can adlib added breathing or expressions. For example, we put little expressions into the subtle feelings of Kodai and Yuki as they slowly become more intimate. I hope you’ll pay close attention to those parts.
Interviewer: Speaking for yourself, what is the highlight of the project?
Ono: In a nutshell, I would say it is “the royal road.” I’m bewildered sometimes by the works I see these days. It’s much easier to understand things like the meaning of life or the struggle of humans when they’re depicted in a straightforward way. Also, the characters clearly vent their emotions toward each other. The soul of the staff and cast comes through as a simple, passionate message, and I think it will come through to you intact.
Interviewer: Finally, please state your message to our readers.
Ono: Chapter 1 leads up to Yamato‘s launch. The impression of the viewers has been, “it’s really uplifting,” and I have the same feeling myself. In chapter 2, the firing of the Wave-Motion Gun and the battle on Pluto will unfold in a way that will not disappoint fans from the old days. As for people being touched by Yamato for the first time, I absolutely think it is an “uplifting” work. By all means, I’d like both generations of parents and children to visit the theater. Please root for Yamato until it returns to Earth!
Visit the Weekly Ascii website here.
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