When Farewell to Yamato returned to movie theaters in 4K at the start of 2024, it reignited interest in the minutiae of how the film was originally edited. The fact that the 1978 edition differed slightly from the 1979 edition (which later went to home video) led some to claim that they remember seeing extra scenes in 1978. Whether they remembered correctly or not, there was enough credulity to keep the topic alive.

As it happens, a fan named Yuji Onuma explored this topic in depth in a 2006 doujinshi. Titled Farewell to Yamato 1978 Memorial, it is part of a series that digs deep into Yamato history to shed light on subjects exactly like this one. Here is Onuma’s article, generously translated for Cosmo DNA by Anton Mei Brant.

The Lost Footage

Farewell to Yamato scene change considerations

A different script

If a movie script is released, not limited to anime, are you the kind of person who will read it? Some people might respond with, “I don’t particularly need to read the script as long as I see the finished film.” However, the act of reading a screenplay is a very profound deed. When the movie’s images are translated into text this way, it’s interesting to see not only which scenes were cut and what dialogue was changed, but also to read the thoughts of the staff members. Which brings us to Farewell‘s screenplay.

In the days of the movie’s public release in 1978, the screenplay for Farewell to Yamato was included in two issues of Kinejun magazine, and Volume 2 of Roadshow‘s special books. At the time, given the sheer volume of content, a proposal to divide the movie into two parts was being considered. Both Leiji Matsumoto and Producer Nishizaki confirmed that the final film, from beginning to end, would be approximately three hours long.

Some fans claim they’ve seen this first cut of the film, unused scenes included. The American film industry utilizes a technique where they create several versions of a movie, screen it with a limited audience, and then decide which version to use based on how the viewers react. That said, there was no Director’s Cut version of Farewell in 1978, so it’s difficult to imagine that a different version of the movie was screened in such a way. These claims (from fans) seem entirely localized, not exceeding the realm of rumors.

Could this be the Yamato series’ number one script with the highest degree of completion?

Since Yamato’s cinematic debut was a re-edit of the TV version (of Series 1), it had no choice but to conform to Yamato’s travelogue-like structure. However, Farewell is a 100% new theatrical anime original from the ground up. Therefore, the scriptwriting, together with the storyboards, took a full four months to complete. If you read the script without watching the finished work, you will honestly feel it is extremely well crafted.

Particularly nice is the first half’s world building: the introduction of the White Comet, the skillful depiction of Earth’s remarkable reconstruction yet decadent peace, and the crew’s sense of mission. The tempo is also quite good. It can easily be called the best script in the series with a high level of perfection. It incorporates ideas freely conceived at the project’s inception by Keisuke Fujikawa, Yutaka Kohira, Fumio Konami, and Aritsune Toyota, and also makes good use of Producer Nishizaki’s method of pre-planning. It makes one think there was nothing wrong with this approach.

And now, the problematic second half. If pushed, I’d say it’s well done “in a bad way.” The intricately-woven composition leading up to the main characters’ kamikaze death scenes and conclusion can only be described as masterful, albeit laced with irony. The key passages describing the deaths in the latter half of the film were likely written by Nishizaki himself.

Symbolically annihilating the entire Earth fleet, including the mighty Andromeda (presumably more powerful than Yamato herself), isolates Yamato completely without allies. And reading the text, those numerous deaths don’t actually seem to have much narrative necessity. With 23rd century medical technology, they should have been able to treat Yuki’s injuries (or perhaps Dr. Sado’s skills were lacking?), and as for Saito and Sanada, they could have increased the escort for the Space Cavalry and had them cover those two, detonating the bomb remotely. As for Kodai’s decision to suicide attack at the end, it looks like Okita’s spirit is spurring him on, but could it actually be a delusion from Kodai’s despair at having no other options…?

One could criticize and poke holes here. But the terrifying thing is, within the story itself, the progression – Earth fleet annihilated, White Comet destroyed by the Wave-Motion Gun, battle against the (Gatlantis) City Empire, Yamato‘s suicide attack on the super battleship – actually does not take up that much screen time. Right after destroying the White Comet with the Wave-Motion Gun, surely Kodai was thinking this as he shared joy with Yuki: “We destroyed the White Comet. The Empire within it must also have been destroyed. Now we can return to Earth. First I’ll treat Yuki’s wounds and we’ll hold our postponed wedding…” Never imagining they would both die on the same day…

The “masterpiece” first half and “disappointing” second half of Farewell…the root cause lies in Nishizaki’s so-called “reverse story construction” method. Namely, the decision to destroy Yamato and its main characters at the ending came before the general storyline, then haphazard developments leading up to that ending were tacked on afterward. A proper creator would never employ such a writing technique to begin with.

The Yamato production team and Toei’s artists demonstrated their real strength in the animation and music departments, as well as the story development of the first half. But coming to the second half, the producer’s lack of creative integrity was exposed as they revealed their true colors. Or would that assessment be too harsh? Of course, at the time of release, no one was thinking such things…

Akira Hio’s Farewell manga is not to be underestimated

An examination of cut and altered scenes, and their revival in Yamato 2

Published by Asahi Sonorama, the manga adaptation was written and drawn by Akira Hio. Even now, it remains readily available in paperback editions together with others. The contents faithfully adapt the finished animated work into manga form, though the character art doesn’t quite recreate Matsumoto’s touch, and the mechanical designs visibly derive from setting materials. Also, with Matsumoto having resumed serialization in Adventure King magazine from the July 1978 issue, I had personally dismissed the Hio manga’s existence.

However, for our present purposes, Hio’s Farewell adaptation has been upgraded to important reference material. To create the manga, Hio seems to have been provided setting documents, storyboards, and a pre-finalized script. As a result, almost all the scenes cut from the finished film are depicted in the manga version.

Moreover, several cut scenes are revived in Yamato 2, the TV edition of Farewell. In other words, if you take the scenes restored in Yamato 2 and splice them back into Farewell, you would have the Director’s Cut (though that might be asking a bit much…).

I’d like to examine those restored scenes here. The script contained in Kinejun and the Roadshow magazines has a disclaimer saying it reflects the filming phase. So it can be called a draft. As a result, there are differences and cut scenes compared to the finished work. To start, here is a list of disparities in proper nouns:

– The Space Cavalry is referred to as the “Land Battle Forces” throughout. This was apparently changed to “Space Cavalry” on feedback from Matsumoto, since it was odd for land forces to be in space.

– Yamamoto’s former unit is the “Akeno Sea Wing.”

– The Cosmo Tiger is described as a new fighter aircraft in some scenes, but called “Black Tiger” in others.

Now let’s look at the script sections corresponding to cut/altered scenes from Farewell. Scenes later adapted in Yamato 2 are annotated with the episode number and scene context. If examined closely, slight dialogue and situational differences can be spotted, but the overall tone remains unchanged, so I have omitted those nuances.

Very well, let’s proceed.

Cut/Altered Scene 1

Yuki welcoming Kodai back to Earth inside a tube car

Kodai and a smiling Yuki are riding together. Kodai is gazing out the window, squinting against the bright scenery.

Yuki: What’s wrong, Kodai?

Kodai: Hmm…

Yuki: Oh come on, you’ve been hmm-ing this whole time…

Kodai: Well, for us space sailors, Earth is just too lively…

Yuki: Earth has been reborn anew… A new reason for living has begun… for you and me, Kodai…

This corresponds to the completed work’s scene of Earth seeming to rebuild itself every time we return, but Yuki’s line, “A new reason for living has begun” sounds very grounded in reality, strongly hinting at their imminent marriage.

Cut/Altered Scene 2

Andromeda flies over the gathering of former Yamato crew members merrymaking at a memorial service for Okita, one year after his death.

Kodai: (with a troubled gaze) Dr. Sado…

Sado: Hm? What is it, Kodai?

Kodai: Is this what we wanted for Earth?

Sado: What do you mean?

Kodai: Lately, I’ve been thinking a lot… what exactly was that great voyage of Yamato for? That 140,000 light year journey into unknown space. A voyage we fought through to the bitter end, sacrificing the lives of Captain Okita and many space soldiers, just to save Earth…

Sado: That’s right.

Kodai: Now, more than ever before, Earth is prospering materially. You could say it’s reached the pinnacle of material civilization.

The others focus their attention on Kodai.

Kodai: Was this the kind of Earth we were trying to save? Is this what Captain Okita staked his life for?

Sado: That’s right… I’ve been waiting for you to say that.

Kodai: !

The two gaze up at Okita’s statue. The rest also look up. Okita’s statue stands tall.

In Yamato 2, Episode 2), this scene takes place at Hero’s Hill. However, it was also produced for Farewell, and stills were published Animage magazine (shown above, published by Tokuma Shoten). The cut scene was originally set at the old Earth Defense Forces headquarters, where Kodai says, “The reason we sacrificed the lives of many space soldiers, including Captain Okita, to fight the war was not to create such a corrupt Earth!” This cut may have occurred due to the fact that the scene has almost the exact same content as another scene in the original film.

Cut/Altered Scene 3

Kodai and Sanada, ignored after submitting the mysterious message and data on the White Comet’s approach to the defense council meeting, in an air car on the way back:

An anti-gravity car is floating along. Below they have a view of a green area, heading toward an undeveloped zone. In the car interior, Sanada and Kodai are sitting in gloomy silence.

Through the window of a high-speed elevator heading to the underground city, the now ghost town-like underground city comes into view.

Sanada: One year ago, while fighting Gamilas, this was a hole relentlessly dreaming of hope for tomorrow.

Soon the exterior of the former Earth Defense Force headquarters comes into view.

Sanada: The former Earth Defense Force headquarters. It’s in ruins now.

This scene was visualized in Yamato 2 Episode 3, with Kodai in Sanada’s role and Yuki as the other party. The dialogue has some slight changes.

Kodai: During the war with Gamilas, this was a hole in the ground relentlessly dreaming of hope for tomorrow. The former Earth Defense Force headquarters. It’s in ruins now.

Cut/Altered Scene 4

After Kodai and Sanada are basically ignored by the defense council, the gathered former Yamato crew members are informed by Director Todo that Yamato has been decommissioned.

Kodai: On that 148,000 light year voyage of Yamato, I saw clearly…without peace in space, there is no peace on Earth. The happiness of space is what brings happiness to Earth…

His awkward words gradually become more passionate.

Kodai: The misfortune of any planet in space means misfortune for Earthlings too! Realizing peace across space and the happiness of space – that’s the manifestation of true hope! That’s why Yamato lives on, continuing to live for the sake of saving space!

Everyone’s gaze focuses intently on Kodai.

In the completed work, his speech is edited down quite a bit, but this draft version is used with some changes, such as Kodai’s lines when he visits the underground city with Yuki in Yamato 2 Episode 3:

Kodai: I figured it out, Yuki. On that 296,000 light year voyage, I realized clearly… without peace in space, there is no peace on Earth. The happiness of space is what brings happiness to Earth. The misfortunes of some planet somewhere in space mean misfortune for Earthlings too!

Cut/Altered Scene 5

Kodai visits the slumbering Yamato in an underwater dock. As he enters the first bridge, the instruments start operating. Standing behind the surprised Kodai is…

Tokugawa: What do you think? She’s ready to launch at any time now, right?

Kodai: I heard she was decommissioned…so I feel relieved.

Visualized in Yamato 2 Episode 3, with Sanada, Aihara, Nanbu and Ota added and the dialogue changed:

Tokugawa: Hahaha! I bet that surprised you!

Kodai: Tokugawa!

Sanada: Rejoice, Kodai! Tokugawa finished the engine repairs at full speed! Maintenance is perfect too. We can launch any time!

Kodai: Chief engineer!

Tokugawa: I’m coming along too, Kodai. If we left Yamato sleeping here, Captain Okita would yell at us.

Aihara, Nanbu, Ota: Kodai!

Kodai: Aihara! Nanbu! And Ota too! You guys are coming as well?

Nanbu: Don’t underestimate me, Kodai!

Ota: You should have told us sooner!

Nanbu: Let’s go! We can’t leave things to those oblivious superiors at HQ!

Aihara: That’s right, punishment be damned!

Kodai: Thanks…thanks everyone! What about Shima…?

Tokugawa: Ah, he’ll be joining us soon too.

Cut/Altered Scene 6

Yamato launches without Shima. Kodai takes over piloting duties instead. Then Shima appears.

Kodai: Shima!!

Shima: Well done, Kodai.

The others turn around as well.

Sanada: Shima!

Shima: There’s a knack to using the horizontal stabilizers when running underwater at high speed.

Everyone looks at Shima with moist eyes.

Kodai: So you came after all, Shima.

Shima: (laughing loudly) You idiot. Did you think I’d let you guys go without me?

Visualized in Yamato 2 Episode 4 with the dialogue changed:

Shima: We’re blowing through that gate. You can’t maintain stability underwater, can you Kodai?

Kodai: Shima!! Making us worry like that!!

Shima: Now leave it to me, Kodai.

Cut/Altered Scene 7

Aboard Yamato after rescuing Captain Hijikata of the flagship Yunagi of the Outer Solar System Fleet, after he was attacked by a mysterious enemy UFO.

In Yamato’s second bridge, while investigating wreckage of the attacking enemy UFO:

Sanada: I analyzed the enemy UFO fragments picked up by the rescue team. It’s some kind of ultra-alloy we’ve never seen before. Different from Gamilas alloys, and of course nothing found on Earth either. It’s a metal we still don’t know about.

Kodai: Then… Sanada…

Sanada: Yeah, it means the fleet that Commander Hijikata led was attacked by an entirely new enemy.

Kodai and the others exchange startled glances.

Just then, Aihara’s voice rings out.

Aihara: Incoming call from Earth. Kodai, please come to the first bridge immediately.

Visualized in Yamato 2 Episode 6 with some changes to the lines and content:

Sanada: I analyzed the fragments retrieved by the rescue team, but it’s an ultra-alloy we’ve never seen before. Different from Gamilas alloys. Of course, nothing on Earth either.

Kodai: Then… Sanada…

Sanada: Yeah, it means the 11th planet base was attacked by a completely unknown enemy. Anyway, we’ll send all this data back to Earth.

Aihara: Kodai, Earth is calling.

Cut/Altered Scene 8

After intercepting Teresa’s message, Kodai visits Commander Hijikata, who is recovering in the infirmary.

A knock is heard and Kodai enters. Hijikata, half-risen, and Yuki next to him turn around.

Kodai: Commander, did you hear about it?

Hijikata: Yes, I heard.

Kodai: We made an emergency launch to rescue the sender of that message, but…

Hijikata: Kodai, she wasn’t asking to be rescued. That’s a warning message to the whole universe.

Kodai: Isn’t it related to the mysterious enemies who attacked your fleet, Commander?

Hijikata: Hmm. Their attack took us by complete surprise. We were completely defeated…

Kodai: Commander, I have a request.

Hijikata: Hm?

Kodai: Please assume the role of Yamato’s Captain. Then fight again with us!

Hijikata: Kodai…

Kodai: If that message is truly a warning to the whole universe, even more reason we should hurry to her location and uncover the truth!

Hijikata: …

Kodai: And for that, we need a captain!

Hijikata: …

The two gaze at each other in silence.

It seems this scene was also produced. Images have been published of Kodai asking Hijikata to take over as captain.

Cut/Altered Scene 9

On the first bridge, the main staff – including Saito – are having a discussion about appointing Hijikata as captain. Saito steps forward.

Saito: I’m against it.

Kodai: Why, Saito?

Saito: That guy was defeated in battle. Appointing someone like that as captain has got to be bad luck.

Kodai: Victory or defeat is a matter of timing. Sometimes you win, sometimes you lose. That alone isn’t a reason to oppose this.

Saito: But, Kodai…

Kodai: Even the esteemed Captain Okita had his losses. It was the tenacity toward fighting to overcome that humiliation which allowed him to complete the 296,000 light year journey.

Tokugawa: But couldn’t you also say it was only possible because he was Captain Okita?

Ota: Yeah, I think so too.

“Just as Tokugawa says… Having a guy like that as captain… I can’t acknowledge it either…”

Everyone chatters noisily. Sanada alone operates the ship’s instruments in silence. Suddenly, the scene quiets down. Hijikata descends in the captain’s private elevator and takes the command seat. Everyone shoots awkward glances.

Hijikata: Gentlemen…speaking as the Hijikata who survived, while unable to save a single crew member after we were attacked by the mysterious fleet…there is nothing I can do sitting in this chair. Just look at me, a disgraced man exposing his shame before you.

Everyone wordlessly heeds Hijikata.

In the completed work there was a strong sense of Hijikata readily accepting the captaincy of Yamato, but it turns out there was this backstory drama behind the scenes. Seeing Hijikata simply waiting for his chance while being swallowed by the currents of space, the expressions of Kodai and others betrayed their anxiety about Hijikata’s leadership.

Anyway, knowing about these unused Hijikata scenes, it makes the impact of the crew looking at him saying “Amazing…” after defeating Goland’s fleet, as well as the flavor of Hijikata’s final words (“Now even I, who lived exposing my disgrace”) feel even deeper. It’s quite regrettable these were cut. I would have liked to hear the late Hiroshi Kimura’s masterful performance.

Cut/Altered Scene 10

Yamato making preparations to warp toward planet Telezart.

Ota: Aren’t we going to test it? Yamato hasn’t warped in over a year.

Shima: We don’t know what lies ahead. We can’t waste extra energy.

Ota, Aihara, and Nanbu exchange uneasy glances.

Tokugawa: No need to worry. Yamato‘s mechanisms are sound.

Cut/Altered Scene 11

The Space Cavalry descends on planet Telezart. Waiting for them is General Zabaibal with a large tank unit. Saito asks Kodai to bring the multi-warhead cannon. Kodai, Sanada, and Analyzer carry parts for it.

Saito: Thanks, what’s going on? The multi-warhead cannon…!

Kodai: We brought it! But it’ll take time to assemble!

Saito: I see… I got it! Everyone, ready your space bombs! We’re charging!

Kodai: Saito, stop! It’ll only increase casualties!

Saito: Shut up! I’m Saito of the Landing Force! If I can die on land, that’s enough to satisfy me!

Dashing out front, he clambers onto a tank, slipping through a gap in their fire. Opening the hatch, he throws in a space bomb and jumps clear as the tank explodes.

Saito: Take that, suckers!

Imitating Saito, the other troops dash from boulder to boulder. A fearsome battle between tanks and humans.

Out of space bombs, Saito leaps into an open tank hatch. An enemy tank soldier is flung out.

Saito’s captured tank plows into the enemy formation, rampaging wildly, taking down one tank after another.

Kodai: That guy’s amazing!

Faithfully visualized in Yamato 2 Episode 14. Of course the unit’s Landing Force name is changed to Space Cavalry.

Kodai: I brought the multi-warhead missile cannon.

Saito: Thanks! Hurry up and put it together!

Kodai: It’ll take time to assemble! Hang in there a little longer Saito!

Saito: Got it!

The enemy attack continues.

Saito: Damn…! Everyone, ready your space grenades! We’re charging!

Kodai: Saito, stop! There’ll just be more casualties!

Saito: Shut up! I’m Saito of the Space Cavalry! If I can die on land, that’s enough to satisfy me!! Let’s go!

Afterward, the Space Cavalry goes wild.

Saito: Look at that!

Seeing this, Kodai says: “That guy’s amazing!”

Cut/Altered Scene 12

On planet Telezart, Kodai, Sanada, Saito and Analyzer meet Teresa. After hearing her warning…

Sanada: (solemnly) I see…so it’s the love of space…

Cut to Saito, tears streaming down his rugged face.

Saito: Damn! Can’t stand it! What a woman!

Kodai pulls himself together

Kodai: That’s right! This is no time for us to space out! Let’s return to Yamato! Depart immediately!

In Yamato 2, when boarding Yamato, Saito says to Yuki, “I’ll make you my girl” and stares passionately at her. Could this line be the remnants of “Damn! Can’t stand it! What a woman!”? Incidentally, Saito’s attitude toward Teresa in Yamato 2 is quite critical.

Cut/Altered Scene 13

Dessler appears in the Comet Empire, heading out to destroy Yamato. Seeing this, Chief of Staff Sabera orders surveillance fleet commander Miru to monitor Dessler.

Sabera: Surveillance fleet commander Miru!

Miru: Yes sir!

Sabera: You go along with him too.

Miru: Huh?

Sabera: To monitor Dessler. Don’t take your eyes off him for even an instant.

Zordar: (with displeasure) Typical of a woman, Sabera.

Visualized in Yamato 2 Episode 2. Dessler, who is visiting the Comet Empire, is given command of Goland’s fleet from Zordar and heads to Telezart. Seeing this, Sabera says…

Sabera: Great Emperor, Your Majesty, you really shouldn’t trust that man to such an extent…

Drinking, Zordar issues a remark.

Zordar: Typical of a woman, Sabera.

Cut/Altered Scene 14

Aboard Yamato shortly before the battle with Dessler. The main staff are working out countermeasures against the White Comet in the central operations room.

A panel on the floor shows Yamato and the White Comet. The main staff surrounds a diagram showing Earth’s position.

Shima: At this rate, the White Comet will reach Earth in less than 20 days. We have to destroy it before that, no matter what! What’s the estimated distance to Yamato now?

Yuki: Orientation XYM, X direction in space kilometers.

Shima: If we warp several times, we should be able to intercept the comet outside the solar system.

Sanada: The problem remains, how do we fight the comet? Is there really no way to manage with the Wave-Motion gun?

Kodai: Sanada, can’t you make an even more powerful weapon?

Sanada: (wry smile) Don’t make it sound so easy. But we probably should research if there’s a way to add more potent, stronger capabilities.

Suddenly, an explosion sounds, the ship shakes violently. Ota’s voice comes over the speaker.

Ota: Enemy craft at starboard stern! Everyone to the first bridge!

Kodai: What!?

It seems this scene was also produced. In the completed work it goes straight to Ota’s voice over the speaker, but looking closely, the location where Kodai hears Ota’s voice is the central operations room (or maybe the 2nd bridge), giving the impression it was cut.

Cut/Altered Scene 15

In Saturn’s space, the decisive battle between the Earth fleet and Baruze’s White Comet vanguard fleet.

Outskirts of Saturn. Fighter planes launch from Baruze’s fleet. The defending Earth fleet also launches its fighters. A fierce large space battle unfolds.

From an evenly matched battle it shifts to Earth fighter superiority, their ships shooting down enemy planes one after another. The retreating Baruze fighters return to their ships. The Earth side fighters also return to their ships.

The Earth fleet reorganizes into a wedge formation, charging into the enemy formation aiming to penetrate the center.

The prospect of Earth fleet fighters launching and waging a fierce battle against Baruze’s fleet was deemed cursory in the film, but were seen in ample detail in Yamato 2 Episodes 20 and 21.

Cut/Altered Scene 16

Seeing the annihilation of the Earth fleet, the Earth Federation President collapses from the shock while looking at the screen.

Voice: This is bad, the Federation President has…! Call a doctor, urgently!

Cut/Altered Scene 17

After Hijikata’s death, Kodai decides to plunge into the City Empire and issues instructions to Nanbu.

On the information panel is displayed the City Empire’s crater. Kodai points at the crater.

Kodai: We’ll plunge in through that launch bay! Nanbu, concentrate all firepower from main gun 3 and secondary gun 2 to destroy the launch bay!

Nanbu: Yes sir!

Shima and Nanbu nod strongly.

Visualized in Yamato 2 Episode 25. Sanada discovers a fighter craft launch bay under the City Empire, Kodai orders Nanbu to destroy it.

Cut/Altered Scene 18

Continuing fierce battle inside the City Empire. Leaving Sanada and Saito behind, Kodai escapes from the launch bay with Kato. During combat, Analyzer’s lifeboat is rescuing the ejected Cosmo Tiger pilots suspended/floating in space.

Kodai’s voice: All units return to ship!

Analyzer: Just a bit, please wait for a bit longer!

At that moment a shot hits the lifeboat. The lifeboat scatters apart.

In the completed work, Analyzer is with Dr. Sado in Yamato‘s medical room when he gets destroyed, but in the draft he gets shot down in the lifeboat during a rescue attempt near the City Empire.

Cut/Altered Scene 19

City Empire Engine Room. Sanada finishes arming the bomb.

Sanada: I’m igniting it!

Saito collapses like a falling oak tree. Sanada pulls his body close and embraces him.

Sanada: Commander, thank you…

Sanada is also hit by more gunfire. Their two bodies shield the fuse of the bomb. The fuse fire progresses…then an explosion.

In the finished work, Sanada meets his end after pressing the detonator switch. But in the draft, he also gets shot.

Cut/Altered Scene 20

The City Empire is embroiled in a huge explosion. Kodai has an anguished expression.

Kodai: Too great…the cost was too great…the captain, Sanada, Saito…the Black Tigers…

Shima: Yuki-san, Dr. Sado, Tokugawa…most of the crew is dead…

In the completed work, the Black Tigers became the Cosmo Tigers, but in this Yamato 2 scene from Episode 25 depicting the attack on the City Empire, Kodai still calls them Black Tigers for some reason. Also note Shima addressing Yuki with the honorific -san.

Bonus: Reused Farewell footage

The scene of Yamato launching was used many times.

Frankly, Yamato 2 is a TV rewrite of Farewell. Despite some staff and setting changes, it’s fundamentally the same material, so there are numerous scenes in Yamato 2 that reuse Farewell footage. Whether to see this as a shortcut is personal opinion, but Yamato 2 Episode 1 aired on October 14, 1978. The drama LP of Farewell was released four days earlier (October 10) and Farewell itself was still being screened in theaters at that time. Getting to watch fragments of the Farewell I’d seen in theaters just 2 months prior on TV was simply delightful.

Examples of reused footage in Yamato 2 include the White Comet advancing through space, the main title backdrop of the solar system planets (for the end title), Yuki welcoming the returned Kodai, Okita’s one year memorial on Hero’s Hill, the defense council meeting about the White Comet’s approach, Yamato launching, Cosmo Tigers gathering on Yamato, Kodai ordering the stowaway Yuki to return to her former post, the battle against Goland’s missile fleet, Space Cavalry vs. Zabaibal squadron, battle against the City Empire (also shown along with the launch in the opening title), the super battleship emerging from the crumbled City Empire, and more. The dialogue is basically identical to Farewell but rerecorded, so the voice actors’ tones differ slightly.

Now, one of Farewell‘s most popular scenes has to be the weighty, dramatic Yamato launch. This launch footage was reused twice in Yamato 2 (Episodes 4 and 25), and some shots were reused in The New Voyage and Final Yamato. Particularly bold editing in Final Yamato combines it with Farewell‘s funeral dirge cue, a version of the theme playing over Yamato‘s suicide attack.

Final Yamato tops off the compilation of iconic scenes in the ending of the initial 35mm theatrical release. Director Noboru Ishiguro, who otherwise dislikes Farewell besides the character death aspects, seems quite fond of this scene, personally requesting that it be shown during the September 1999 Rail of Fantasy concert.

Looking at other examples, Farewell’s version of the battle against the City Empire appears as part of the false Earth’s historical record shown to Kodai and crew in Be Forever Yamato. In Final Yamato again, during Yuki’s flashback, the scenes appear of her welcoming the returned Kodai, and Kodai ordering her to return to her former post.

The most notable and famous cameo appearance is in the 1980 Toei film Gamera Super Monster. As Yamato departs from planet Telezart, live-action footage of Gamera was composited in, achieving an “encounter with Yamato.” Additionally, the protagonist boy has the Farewell hardcover book. Whether the Toei staff had the idea of piggybacking on Yamato‘s popularity in order to successfully revive Gamera in the box office is unclear, but it did not work out that time.

Given that it was such a mega-hit work, having so many behind-the-scenes anecdotes is also one of the characteristics of Farewell.

The main character in Gamera Super Monster is a boy who is both a Gamera fan and a Yamato fan, and he mashes them up in a dream sequence. See the entire movie on Youtube here; the mashup scene begins at 52:00.