{"id":26268,"date":"2019-03-15T00:15:34","date_gmt":"2019-03-15T07:15:34","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=26268"},"modified":"2019-03-19T22:36:40","modified_gmt":"2019-03-20T05:36:40","slug":"375a","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/375a\/","title":{"rendered":"Yamato 2202<\/em> Chapter 7 interviews"},"content":{"rendered":"

\"1903icon\"<\/p>\n

A flurry of interviews accompanied the premiere of Yamato 2202<\/em> Chapter 7 in February and March, 2019. Various online news services asked cast and staff members for their impressions as the latest chapter in the legendary Yamato<\/em> saga came to a close.<\/p>\n

<\/div>\n

<\/p>\n

A flurry of interviews accompanied the premiere of Yamato 2202<\/em> Chapter 7 in February and March, 2019. Various online news services asked cast and staff members for their impressions as the latest work in the legendary Yamato<\/em> saga came to a close. Collected here are the shorter ones, which provide a broad overview from multiple perspectives.<\/p>\n

Director Habara: the final chapter of Space Battleship Yamato<\/em>, \u201cA work supported by love,\u201d is completed<\/h2>\n


\nTalking about <\/em>Yamato, Director Nobuyoshi Habara said, \u201cThe site is made up
\nonly of people who have a personal view of <\/em>Yamato, including myself. There were
\ndiscussions and clashes, and that\u2019s why we were able to make something good.\u201d<\/em><\/span><\/p>\n

Published by Kyodo, February 21. See the original article here<\/a>.<\/em><\/p>\n

Space Battleship Yamato 2202, Soldiers of Love<\/em>, the series that revived the popular anime with a new interpretation, is completed with the finale, New Star Chapter<\/em>. Director Nobuyoshi said, \u201cThe staff, cast, and fans all supported me. It was a work supported by a lot of love.”<\/p>\n

As a passionate fan since the first Yamato<\/em> was broadcast on TV in 1974, Habara was originally interested in the work of an animator \u201cto make moving pictures.\u201d The first movie that pulled him into a story that went beyond the images was Farewell to Yamato<\/em> (1978), the basis of the 2202<\/em> series.<\/p>\n

When he was approached to direct, he had to grapple with strong feelings. \u201cI was worried about whether or not I was up to it, but it would have been frustrating to watch someone else make it,\u201d he said. So he decided to participate and \u201cbear the labor pains.\u201d<\/p>\n

While incorporating CG into the production to produce powerful images, he carefully listened to the music at important points, always mindful of \u201cYamato<\/em>-ness\u201d in the directing. In order to express the size and mass of battleships, they were depicted many times larger than their original scale.<\/p>\n

\u201cIn the era of hand-drawing, it came naturally. There are things that can\u2019t be expressed by correctness alone,\u201d he emphasized.<\/p>\n

In the final chapter, the battle with the White Comet Empire Gatlantis comes to an end. \u201cI want you to see the end of Soldiers of Love<\/em> by all means,\u201d the director said. Chapter 7 New Star Chapter<\/em> will premiere on March 1 in 35 theaters nationwide, including Tokyo and Osaka.<\/p>\n

\n
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<\/p>\n

Untold stories of Yamato 2202<\/em> design<\/h2>\n

Published by Mantan Web, February 23. See the original article here<\/a>.<\/em><\/p>\n

New Star Chapter<\/em>, the seventh and final chapter of Yamato 2202<\/em>, the latest part of the popular anime Space Battleship Yamato<\/em>, premieres on March 1. Yamato<\/em>\u2019s design has been updated each of the many times this popular work has been remade. Junichiro Tamamori has dealt with its mecha design continuously from 2199<\/em> to 2202<\/em>, and he talked about the appeal of Yamato<\/em>\u2019s design.<\/p>\n

<\/p>\n

A design suitable for the present day, uniquely expressed with CG<\/h3>\n

Yamato 2202<\/em> is a sequel to Yamato 2199<\/em>, which was seen in theaters and on TV from 2012 through 2014. Its motif is Farewell to Yamato<\/em>, released in 1978. All seven chapters were written by Harutoshi Fukui, the writer of Another Nation\u2019s Aegis<\/em> and Mobile Suit Gundam UC.<\/em><\/p>\n

When Mr. Tamamori got the offer about ten years ago, he was a fan of the series and had drawn Yamato<\/em> illustrations for doujinshi (fanzines). He said it gave him great joy. \u201cIt was what I was waiting for! That\u2019s what it felt like.\u201d<\/p>\n

The first Space Battleship Yamato<\/em> broadcast began in 1974. Forty years later, Mr. Tamamori thought about \u201crecapturing the design from the perspective of what is appropriate for the present day.\u201d<\/p>\n

\u201cYamato<\/em>\u2019s original design is wonderful. I\u2019m conscious about making use of its form. I rebuilt it to match the times. It couldn\u2019t be done the same way. After the era of Yamato, Gundam<\/em>, and Macross<\/em>, the techniques of anime expression evolved. For example, with CG it\u2019s possible to depict the gradual curve of the hull surface that couldn\u2019t be drawn by human hands.\u201d<\/p>\n

\u201cThere were places where I thought about a design that could take full advantage of light, shadow, and so on. You can\u2019t fake it in CG, and you can make fine detail. But contrary to that, I tried not to make it too intricate, since there could have been a sense of incongruity if you saw individual screws, So I put in the necessary things and left out what was unnecessary.\u201d<\/p>\n

<\/p>\n

The untold story of a classical atmosphere in Ginga<\/em>\u2019s design<\/h3>\n

In 2202<\/em> Chapter 6 Regeneration Chapter<\/em>, the new Yamato<\/em>-class ship Ginga<\/em> became a hot topic. Characterized by the feature of an observation dome, it has a striking shape that is both like and unlike Yamato<\/em>.<\/p>\n

\u201cAssistant Director Makoto Kobayashi put together the design, and I was involved in organizing it. It\u2019s a suitable sister ship to Yamato<\/em>, with a design that matches the world view of 2202<\/em>. It isn\u2019t a mass-production type of Yamato<\/em>, and it\u2019s an experimental ship instead of a battleship. Many battleships, including Yamato<\/em>, were designed in the 19th and early 20th century, in the neo-gothic era after the Industrial Revolution. Would it be possible for us to incorporate a classical atmosphere, like the Eiffel Tower? I took up the challenge of the observation dome with that thought.\u201d<\/p>\n

<\/p>\n

Yamato<\/em> is a very popular work, and whenever a remake is done, fans express various opinions. Therefore, designing it is difficult.<\/p>\n

\u201cYamato<\/em> has various forms in the old works. The form is different between Farewell<\/em> and Yamato 2<\/em>. There are those who enjoy it as a model kit, too, and each fan has their ideal form. That\u2019s it! That\u2019s all I can say.\u201d<\/p>\n

Talking about the appeal of Yamato<\/em>, Tamamori says, \u201cThere is a spirit to the challenge of the design and the attitude toward the work. I\u2019m trying to make a visual that hasn\u2019t been seen before.\u201d<\/p>\n

He also seems to be designing with love. \u201cI\u2019m conscious that there are many fans, and I try to think about their feelings objectively.\u201d<\/p>\n

Love is a big theme in Yamato 2202<\/em>, and the love of the staff that includes Mr. Tamamori should attract many fans.<\/p>\n

Click here<\/a> to see a larger gallery of the art in this and the next interview.<\/span><\/p>\n

\n
\n

<\/p>\n

With love in the backgrounds, the \u201cYamato<\/em>-ness\u201d will not be lost<\/h2>\n

Published by Mantan Web, February 24. See the original article here<\/a>.<\/em><\/p>\n

New Star Chapter<\/em>, the seventh and final chapter of Yamato 2202<\/em>, the latest part of the popular anime Space Battleship Yamato<\/em>, premieres on March 1. The beauty of 2202<\/em>\u2019s images is attractive, from the inside of Yamato<\/em> to the dazzling outer space backgrounds. We talked with Art Director Yoshio Tanioka about drawing the backgrounds \u201cwith love.\u201d<\/p>\n

<\/p>\n

How to create in accordance with new concepts<\/h3>\n

Mr. Tanioka is in charge of various backgrounds in 2202<\/em> including buildings, mountains, outer space, and the corridors or the engine room on a ship. Mr. Tanioka and his staff created 300-400 individual background pieces.<\/p>\n

\u201cIt takes three to four hours to draw one piece. A poster could take a full day. It gives me a long time to think.\u201d<\/p>\n

Mr. Tanioka creates a background based on an image by Assistant Director Makoto Kobayashi. He looks at the script and storyboard to see what will be shown, then expands upon it by gaining a greater understand of what\u2019s being presented.<\/p>\n

It\u2019s not just the story of 2202<\/em> that differs from previous Yamato<\/em>, but also the design and the backgrounds.<\/p>\n

\u201cI study past designs, but since some things in them are fundamentally different from our concepts, I rebuild them into something modern. I create it in accordance with new concepts. There\u2019s also an image of the original work, so I try not to leave that behind. For example, Zordar had a strong image of evil in Farewell<\/em>. This time, Zordar is not good or evil, so the thought is to depict him with a different type of existence. It comes from a completely different cultural sphere, so I try to create a cultural difference in the art.\u201d<\/p>\n

<\/p>\n

Don\u2019t change it in places where the impact is strong<\/h3>\n

On the other hand, there are things that cannot be changed. If the \u201cYamato<\/em>-ness\u201d is lost, the heart of the fans will also be lost.<\/p>\n

\u201cThe Wave Engine\u2019s orange color cannot be changed, because then it wouldn\u2019t look like Yamato<\/em> any more. We don\u2019t change it in places where the impact is strong. There are a lot of greys in the color, but there are a lot of variations. Andromeda<\/em>\u2019s grey is different from Yamato<\/em>\u2019s grey. I change the color for each panel on the floors and walls.\u201d<\/p>\n

Since it is an SF work, many fictional weapons appear that don\u2019t exist in reality. They don\u2019t exist, but they have to be realistic.<\/p>\n

\u201cIt\u2019s fictional, but I make sure that it doesn\u2019t look fake. I have to show it like that. It has to look like somewhere you can live. You have to tell good lies so people can enter the onscreen world. But in the end, it\u2019s about sensation rather than logic. I think the standard of the fans is whether there is love in it or not.\u201d<\/p>\n

After completing all seven chapters, Mr. Tanioka says, \u201cI felt the weight of the project, and at first I was scared of participating in it. But I found my resolve. I was ready to give it my love. I had to be faithful to the fans. It was hard work\u2026but every time I went to a preview, I saw it as a fan.\u201d (Laughs)<\/p>\n

The backgrounds of 2202<\/em> are also filled with love. There may be new discoveries when the details are examined.<\/p>\n

\n
\n

Special Chapter 7 talk with Daisuke Ono as Susumu Kodai X Hiroshi Kamiya as Keyman<\/h2>\n

<\/span><\/p>\n

Published by Animate Times, February 25.
\nSee the original article here<\/a>.<\/em><\/p>\n

Ahead of the March 1 premiere of Yamato 2202<\/em> Chapter 7 New Star Chapter<\/em> (the finale), we bring you this talk with Daisuke Ono (Susumu Kodai) and Hiroshi Kamiya (Klaus Keyman).<\/p>\n

Interviewer:<\/em><\/span> First, please tell me your impression when you read the script for Chapter 7.<\/p>\n

Ono:<\/em><\/span> Up until now, [Writer] Harutoshi Fukui continued to say \u201cThe love of Kodai and Yuki will be tested.\u201d When I read the last script, it was a really rough ride. There was a rewarding feeling, that it was good to be here.<\/p>\n

Kamiya:<\/em><\/span> I read a work from the standpoint of a character, and Yamato 2202<\/em> is packed with many peoples\u2019 feelings depicted in various ways. It\u2019s the story of a ship that gets into deep trouble. There are parts of it where nothing can be done, and there was a strong impression of indecisiveness. There\u2019s also the episode where everyone is at the mercy of Teresa\u2019s enigmatic words. But, in trying to arrive at this seventh chapter, by treating this contradiction in regard to whether it’s peoples’ confusion, the direction they have to take, and the future towards which they must strive, the answer comes out clearly. I felt that the story written by Harutoshi Fukui and Hideaki Oka, and gathered together by Director Nobuyoshi Habara, was amazing.<\/p>\n

Interviewer:<\/em><\/span> Please tell me your impressions of performing Kodai and Keyman.<\/p>\n

Kamiya:<\/em><\/span> At first, Keyman\u2019s interests paralleled with Kodai\u2019s didn\u2019t they? Kodai had a bigger mission, and Keyman\u2019s role in ensuring that Yamato<\/em> sailed safely was necessary for the mission he had to fulfill. Because he was on board Yamato<\/em>, too. That\u2019s why I advised Kodai more and more. I think it was an arrangement in which they seemed to help each other.<\/p>\n

<\/span><\/p>\n

Ono:<\/em><\/span> At first, he just got on board Yamato<\/em> as a resident military officer. It was very interesting that he gradually became a crew member. Keyman shoulders a variety of things. At first, he wasn\u2019t a character who put everything on the table.<\/p>\n

Kamiya:<\/em><\/span> I think the encounter with Dessler was his big climax. If anything, before that I felt like I was off to the side. Even when Yamato<\/em> faced a crisis, part of me took a detached view of it all. In a way, it was \u201cboring\u201d just to play a character with only that role.<\/p>\n

Ono:<\/em><\/span> Because of the sadness in his past and his origin, I thought he could only watch people around him dispassionately.<\/p>\n

Kamiya:<\/em><\/span> After meeting Dessler, I couldn\u2019t help but become a more harmonious character. A decision was entrusted to Keyman. Even when movement was happening, there was still some vagueness in my mind when I performed it. It was a lot of fun.<\/p>\n

Ono:<\/em><\/span> To put it in a single word, it has a feeling of “shiftiness.” (Laughs) Little by little, the unrefined side of human nature emerges, and you think “Do we already have another protagonist here?”<\/p>\n

Interviewer:<\/em><\/span> Can you tell me some of the highlights of Chapter 7, which brings us to the end?<\/p>\n

Kamiya:<\/em><\/span> In the eyes of Keyman, there is the fate of Yamato<\/em> and the mission he must fulfill. Which will he choose? I think that\u2019s the point. Torn between them, what will he ultimately do? That becomes a big point.<\/p>\n

<\/span><\/p>\n

Ono:<\/em><\/span> For the fans, I think the expectation is that there will be scenes of Kodai and the others fighting for their lives. Chapter 7 is total war, the same as the original work, Farewell to Yamato<\/em>. However, 2202<\/em> conforms to the present day. At the very end, I think you\u2019ll feel that it is a New Star Chapter<\/em>.<\/p>\n

Interviewer:<\/em><\/span> Please give a message from the two of you to the fans who will watch Chapter 7.<\/p>\n

Kamiya:<\/em><\/span> Yamato 2202<\/em>, which revived Space Battleship Yamato<\/em> for the present day, with the best staff and techniques, comes to its conclusion. I thought it was a beautiful finale. Please participate in the big event.<\/p>\n

Ono:<\/em><\/span> I went on a voyage with Yamato<\/em> in 2199<\/em> and was able to come to here. I feel like I\u2019ve been rewarded. I\u2019m glad to have traveled so far. I want everyone to see it.<\/p>\n

\n
\n

We listen to Writer Harutoshi Fukui and Director Nobuyoshi Habara on the meaning of love depicted in the finale of Yamato 2202<\/em>\u2026<\/h2>\n

<\/span><\/p>\n

Published by Mantan Web, March 1.
\nSee the original article here<\/a>.<\/em><\/p>\n

New Star Chapter<\/em>, part 7 of Yamato 2202, Soldiers of Love<\/em> in the popular Space Battleship Yamato<\/em> series, was released on March 1. The much-talked about work involves Writer Harutoshi Fukui (Another Nation’s Aegis<\/em> and Mobile Suit Gundam UC)<\/em>, Director Nobuyoshi Habara (Fafnir of the Blue Heavens)<\/em> and an extravagant staff. The final chapter has arrived at last.<\/p>\n

Love is one of the themes of 2202<\/em>. What is the meaning behind depicting love now? What happens in the end? We talked with Mr. Fukui and Director Habara.<\/p>\n

<\/br><\/p>\n

<\/span><\/p>\n

We can now see the difference between 2202<\/em> and Farewell to Yamato<\/em><\/h3>\n

Yamato 2202<\/em> is the sequel to Yamato 2199<\/em>, which screened in theaters from 2012-2014 and was broadcast on TV. Its motif was Farewell to Yamato<\/em>, which was released in 1978, and Yamato 2<\/em>, which was broadcast in \u201978 and \u201979. Seven chapters were released, starting with Beginning Chapter<\/em> in February 2017.<\/p>\n

2202<\/em> is based on Farewell<\/em> and Yamato 2<\/em>, but also seems different from the past works. Fukui thought about what it meant to refine them for this era.<\/p>\n

\u201cIf you refine an old thing, it won\u2019t match the old one. I couldn\u2019t do better than them. There is meaning in what is left out, but it\u2019s impossible to put it out exactly as is in the present day. So I had to dismantle what was appealing about Farewell<\/em> at that time. If the people who saw both Farewell<\/em> back then and 2202<\/em> today see the difference now, will it still have meaning? I thought about that. How has the situation of Japan and the world changed? You can confirm that if you see both. Of course, you could also just see 2202<\/em>.\u201d<\/p>\n

At the start of the plan, Director Habara said he thought, \u201cShouldn\u2019t we just do Farewell<\/em> as is?\u201d But he changed his mind when he saw Mr. Fukui\u2019s plan.<\/p>\n

\u201cFarewell<\/em> is my favorite, and there\u2019s some fundamentalism to it. So I thought, why not just do it as is? But when I saw Mr. Fukui\u2019s plan, it was deep and wonderful\u2026and I got the feeling that the rudder had been cut. In consensus with him, I wanted to preserve familiar scenes from Farewell<\/em>. No matter when you look at Farewell<\/em>, there\u2019s a point where the flow of the completed scenes gives you a catharsis.\u201d<\/p>\n

<\/span><\/p>\n

Choosing to depict love
\nin the smartphone era<\/h3>\n

While dismantling Farewell<\/em>, there was something in its nucleus Mr. Fukui wanted to preserve, the theme of \u201clove.\u201d The title of Farewell<\/em> and 2202<\/em> both contain the words Soldiers of Love.<\/em><\/p>\n

\u201cThe word love is often caught up in gender relationships. It’s more than that, it’s humanism. Humanity. There are times like now when humanity faces a crisis. There is also AI, which will try to shake itself free of humanity. I have a firm belief that humanism and love are modern themes. But it\u2019s not like in Farewell<\/em>, where you can die to protect the purity of your beliefs. It\u2019s about God surrendering to humanity.\u201d<\/p>\n

In 2202<\/em>, the main character Susumu Kodai is forced to make the ultimate choice. His agonized figure is impressive. Choice also seems to be a big theme.<\/p>\n

\u201cFor older Japanese, there were many grey areas. But in the net society, each individual can speak anonymously. Rather than broadening your horizons, the smart phone is seen as a tool that lets you fill up your time only with what you like. It\u2019s stressful when something you don\u2019t like gets in the way. When someone makes a mistake, they\u2019re immediately subjected to an intense beating. This can\u2019t be described as a conversation between human beings. It becomes public opinion, and all we want is black and white.”<\/p>\n

“In 2202<\/em>, a choice is pushed for, and it becomes unreasonable not to make a choice. When you think about the results it will bring, you can’t do it. Even if not choosing throws you into hell, this is still better than making a choice that will throw away your humanity. Lives may be saved at the moment you make a choice, but you may become less than human. Isn\u2019t that the origin of humanity? I had to think about that from there. Viva human nature!\u201d<\/p>\n

The ending of Farewell<\/em> was considered to \u201cglorify suicide.\u201d How will 2202<\/em> reach its ending?<\/p>\n

\u201cWhat we talk about in 2202<\/em> is consolidated in the ending. What was done to protect humanism? Up to that point, only sad things happened in 2202<\/em>. At the end, it was finally time to make a miracle.\u201d<\/p>\n

<\/span><\/p>\n

2202<\/em> is the latest, definitive version!<\/h3>\n

According to Director Habara, Mr. Fukui\u2019s scripts for 2202<\/em> had a lot of information, and there seems to have been a lot of hardship.<\/p>\n

\u201cThe scripts are dense, and there is a lot of information between the lines of dialogue. I made the visuals to preserve the main subject as much as possible. Since I\u2019m in the target generation for Yamato<\/em>, I felt a direct relationship with it. While I worked on it, I collected various opinions from Mr. Fukui and the staff. There\u2019s never been a work like this before. I\u2019m glad that there was time for me to deepen it. Making Yamato<\/em> has been a treasure. Both Yamato<\/em> and Yuki Mori are the most beautiful they\u2019ve ever been in Yamato<\/em> history. I think it\u2019s wonderful.\u201d<\/p>\n

\u201c2202<\/em> is the latest, most definitive version for now,\u201d Mr. Fukui said. \u201cWhen I think about it, there has been a contradiction from the very first work. Yamato<\/em> is a battleship, but the story is anti-war. I took that head on from the start. If 100 people absorb it, I think they\u2019ll absorb it in 100 different ways. I\u2019ve done it all! That\u2019s my feeling about it,\u201d he concluded confidently.<\/p>\n

What kind of love will be seen in the last chapter? What choice will Kodai make? It seems likely to be full of highlights to the end.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[119,123,135],"tags":[],"class_list":["post-26268","post","type-post","status-publish","format-standard","hentry","category-others-interviews-essays","category-yamato-2202","category-yamato-2202-interviews"],"_links":{"self":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/26268","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/comments?post=26268"}],"version-history":[{"count":12,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/26268\/revisions"}],"predecessor-version":[{"id":26338,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/26268\/revisions\/26338"}],"wp:attachment":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/media?parent=26268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/categories?post=26268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/tags?post=26268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}