{"id":36762,"date":"2024-04-21T18:53:23","date_gmt":"2024-04-22T01:53:23","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=36762"},"modified":"2025-08-30T11:13:22","modified_gmt":"2025-08-30T18:13:22","slug":"939a","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/939a\/","title":{"rendered":"Vintage Report 24: January-March 1980"},"content":{"rendered":"

\"2405icon\"<\/p>\n

The new decade dawned with the making of a new Yamato<\/em> adventure that would be just one part of Academy Studio’s busiest year of them all. While the production team got started, a steady flow of media kept fans at bay. But…for how long? Here we examine the state of Yamato<\/em> world for the first quarter of 1980.<\/p>\n

<\/div>\n

<\/p>\n

The new decade dawned with the making of a new Yamato<\/em> adventure that would be just one part of Academy Studio’s busiest year of them all. While the production team got started, a steady flow of media kept fans at bay. But…for how long? Here we examine the state of Yamato<\/em> world for the first quarter of 1980.<\/p>\n

<\/p>\n

January 2: Yamato Part III<\/em> preproduction meetings<\/h3>\n

On January 2, twenty staff members were on a plane headed for Hawaii. This included Yoshinobu Nishizaki and Leiji Matsumoto, along with Director Toshio Masuda, the scriptwriters, and the primary designers: Kazuhiko Udagawa, Tsuji Tadanao, Takeshi Shirato, Katsumi Itabashi, Shinya Takahashi and Yoshinori Kanada.<\/p>\n

When they took this same trip two years earlier<\/a>, screenings of Star Wars<\/em> and Close Encounters<\/em> (neither of which had yet been released in Japan) set the tone for their work. This time they took in The Black Hole<\/em> and Star Trek: the Motion Picture<\/em>. But it wasn\u2019t a vacation; serious pre-production began there with a review of Matsumoto\u2019s story draft to flesh it out for the script and design phases. Key decisions were made at this point, including an extremely ambitious one: to shoot the entire film in 70mm. Had this gone as planned, it would have been a first for anime. The idea would later be scaled back, but there were still plenty of other firsts in store.<\/p>\n

<\/p>\n

January 2 & 3: Movies on Fuji TV<\/h3>\n

Talk about a one-two punch: Space Battleship Yamato<\/em> aired the night of January 2 as a setup for the broadcast premiere of Farewell to Yamato<\/em> on January 3. See a promotional clip aired by Fuji on January 3 here<\/a>.<\/p>\n

(Special thanks to “Dimension Base” for the preservation effort!)<\/p>\n

<\/p>\n

The premiere of Farewell<\/em> on the 3rd came with two unexpected extras. First, an introduction to film featuring Yoshinobu Nishizaki himself. Of course, it was pre-recorded since Nishizaki himself was in Hawaii at the time.<\/p>\n


\nPhotos posted on Twitter by Motou Yuji<\/a><\/em><\/p>\n

Second, a unique variation of the ending captions. They had already been changed once for the 1979 re-release, to rewrite the “Yamato<\/em> will never be seen again” signoff, but in 1980 they were changed again to display the lyrics to the end song, From Yamato With Love<\/em>. It is not known whether or not these captions were seen after the broadcast, but they did not end up on any home video edition.<\/p>\n

<\/p>\n

After the film, there was a promo for the next series to come from Academy Studio. What series was that? Keep reading.<\/p>\n

<\/p>\n

January 5: 6th Grader<\/em>, February issue<\/h3>\n

Shogakukan\u2019s monthly magazine for 6th graders presented the fourth (and final) part of an illustrated storybook serial adapting The New Voyage<\/em> with a combination of stills and new artwork. <\/p>\n

See the pages here<\/a><\/p>\n

<\/p>\n

January 9: Middle 1st Age<\/em> supplement<\/h3>\n

As a direct followup to the supplement in the previous issue, Obunsha’s student digest for 7th graders came with the 48-page TV Manga Waku-Waku [Exciting] Guide<\/em>, which focused on current anime. Since Farewell to Yamato<\/em> got a new broadcast the month this came out, it was given a two-page glossary, maybe to help prime everyone for a pop quiz. Because you just never know.<\/p>\n

<\/p>\n

January 9: Maeterlinck’s Blue Bird<\/em> premieres on Fuji TV<\/h3>\n

Of all the non-Yamato<\/em> projects by Office Academy that slipped under the international radar, this one slipped the hardest. Based on a 1908 children’s story by Belgian playwright Maurice Maeterlinck, it follows siblings Tyltyl and Mytyl as they search for the Blue Bird of Happiness and discover the differences between perception and reality. Nishizaki and company expanded on the premise, using it a vehicle to examine modern life over 26 episodes. The story had been adapted for film many times, but this was the first and only animated version, and it contained musical numbers. It was never imported to the English-speaking world, but did make a splash in France, Spain, Italy, and Poland.<\/p>\n


\nHiroshi Miyagawa wrote enough songs for the series to fill two LP theme collections<\/em><\/p>\n

Several Yamato<\/em> veterans worked on the series, including scriptwriter Keisuke Fujikawa, Composer Hiroshi Miyagawa, and Animation Director Toyo Ashida. Leiji Matsumoto contributed to the character designs. The entire production was directed by Hiroshi Sasagawa<\/a>, whose pedigree at Tatsunoko included Casshan, Gatchaman, Mach Go Go Go<\/em> and many more. Academy acquired the series specifically for him to direct. He would go on to direct two episodes of Yamato III<\/em>.<\/p>\n

<\/p>\n

Given the nature of the series, it was easy to slip in some very direct homages. In Episode 12, the dog character Chiro gets his own musical number in which he imagines himself as the hero of various stories. It ends (naturally) with a flash.<\/p>\n

<\/p>\n

In Episode 13, the children get a TV set which gives them some trouble at first. When a repairman gets it working, they turn it on to see a familiar sight. The episode then proceeds to deliver a meta-commentary on the excesses of television.<\/p>\n

See The Anime<\/em> News Network entry for the series here<\/a><\/p>\n

Read more about it on Wikipedia here: The Anime<\/em> series<\/a> | The play<\/a> | Maurice Maeterlinck<\/a><\/p>\n

<\/p>\n

January 10: The Anime<\/em> Vol. 3, February issue<\/h3>\n

In its early issues, The Anime<\/em> had a regular feature titled Anime Memorial<\/em> that provided a comprehensive overview of a series or film. Their memorial for Space Battleship Yamato<\/em> had a lot to cover and did so with a whopping 16 pages.<\/p>\n

Introduction: Space Battleship Yamato<\/em>, a masterpiece that has set a milestone in the world of anime! The story of Yamato<\/em>, which has been enthusiastically supported by not only children but also young people, is reprinted here in this magazine. Yamato<\/em>, a ship that races through the dark universe — enjoy its appeal to the fullest!<\/span><\/p>\n

See the pages here<\/a><\/p>\n

<\/p>\n

January 15: Space Battleship Yamato<\/em> Postcard Book<\/h3>\n

This one-of-a-kind product was published by Japan Business Company in a 20-page book measuring 12″ x 12″. Inside could be found 18 postcards each from Series 1 and Farewell<\/em>. You had to trim them out yourself, or leave them as is for your growing book collection. It was the only known Yamato<\/em> product from this company.<\/p>\n

See it from cover to cover here<\/a><\/p>\n

<\/p>\n

January 20: Space Battleship Yamato Secret Notebook<\/em><\/h3>\n

The \u201cPerfect Memoir\u201d series was a set of unusually-shaped paperbacks from Leed Co., each of which (like Tokuma Shoten\u2019s Roman Albums) took on a different anime program. This was the first of four Leed publications on Yamato<\/em>, providing a roundup of everything leading up to 1980. <\/p>\n

In 210 pages, “Perfect Memoir No. 4” contained a 34-page film comic for The New Voyage<\/em>, a short overview of characters and mecha, condensed black & white film comics for Series 1 and Farewell<\/em>, an encyclopedic section on Yamato<\/em> and its foes, and a substantial product catalog. This was actually the second film comic in Yamato<\/em> history; the first was a serialized version of The New Voyage<\/em> concurrently running in Shogakukan’s Terebi-kun<\/em> magazine. Many more were on the way.<\/p>\n

<\/p>\n

January 20-23: Yamato Part III<\/em> production<\/h3>\n

The still-unnamed feature film took big steps forward on these days. First, Leiji Matsumoto delivered character designs, the first visualizations of Yuki, Sasha, and Dezarium’s Emperor Skaldart.<\/p>\n

<\/p>\n

On the 23rd, the results of the Hawaii meetings manifested in a new story draft by Toshio Masuda and Yoshinobu Nishizaki. Masuda, who had made strong contributions to the two previous Yamato<\/em> films, took over the writing process at this point with Nishizaki ensuring that the \u201cYamato<\/em> flavor\u201d was maintained (such as the drama between Kodai and Yuki) in the finished draft. Aside from occasional variations, the story was essentially decided at this stage and became the foundation of the film.<\/p>\n

Read it here<\/a><\/p>\n

<\/p>\n

January 24: The Best One<\/em>, March issue<\/h3>\n

This issue’s “Anime Channel” section gave a nod to both of Office Academy’s ongoing productions. There was a page devoted to The Blue Bird<\/em>, which summarized Episode 4 (to air January 30)…<\/p>\n

In search of The Blue Bird<\/em>, we go to the forest of the Queen of the Night!<\/span><\/p>\n

Every night, Tyltyl and Mytyl pursue a blue bird in the dream world. This time, they finally go to the forest ruled by the Queen of the Night in search of the blue bird. What will happen when they are touched by the Queen’s wrath…?<\/span><\/p>\n

<\/p>\n

There was also an update on Space Carrier Blue Noah<\/em>, which had now reached its halfway point.<\/p>\n

\n
\n

Also spotted in January<\/h3>\n

<\/p>\n

Starburst No. 17<\/em><\/p>\n

If you dig into Yamato<\/em> coverage outside Japan, one of the most notorious early examples was a savage review of the dubbed Space Cruiser<\/em> movie by Britain’s Starburst<\/em> magazine in March 1978. In the time since then, the magazine was taken over by Marvel UK, and Yamato<\/em> was revisited by another reviewer who actually recanted the previous charges. “Considering the thoroughly mediocre stuff that has been winging our way ever since, Space Cruiser Yamato<\/em> (to give the film its true title) was not that bad after all.”<\/p>\n

The article went on to cover Arrivederci Space Cruiser<\/em> (what the film was called before its official retitling in 1988) and two other contemporaries.<\/p>\n

Read the articles in both issues of Starburst<\/em> here<\/a><\/p>\n

<\/p>\n

ASCII #32, February issue<\/em><\/p>\n

Summer 1980: in search of love and romance, Yamato<\/em> Launches with a new concept, Space Battleship Yamato Part III<\/em>. Once again, the young warriors are about to cry out passionately in the sea of the new universe…<\/span><\/p>\n

Yamato<\/em>‘s next brush with the home computing world came with this issue of ASCII<\/em>, which offered coding language for a homemade game on the PC-8001. If you had the necessary hardware, you could recreate it yourself. In fact, this is still possible today.<\/p>\n

Click here<\/a> to see the article in full.<\/p>\n

ASCII<\/em> previously offered a Yamato<\/em> game in issues 13 and 14. See them here<\/a> and here<\/a>.<\/p>\n

January context<\/h3>\n

<\/p>\n

Mobile Suit Gundam<\/em>, which premiered on TV the same day Yamato 2<\/em> ended, reached its finale on January 26. In an interesting parallel to the first Yamato<\/em> series, it ran into a ratings slump and was cut short at 43 episodes rather than the hoped-for 50. Then it disappeared from the pop culture zeitgeist, never to be heard from again. (WINK)<\/p>\n

<\/p>\n

Anime magazines published in January: Animage<\/em> February issue (Tokuma Shoten), OUT<\/em> March issue (Minori Shobo), The Anime<\/em> February issue (Kindaieigasha), Animec<\/em> No. 9 (Rapport)<\/p>\n

\n
\n

<\/p>\n

February 1: Yamato Part III<\/em> production<\/h3>\n

On this day, design assignments were identified and distributed to key personnel:
\nKazuhiko Udagawa would design the Great Emperor, Kazan, Grotas, and Captain Yamanami.
\nShinya Takahashi would design Sasha and Sada. Takeshi Shirato would design Alphon.
\nKatsumi Itabashi would design Yamato<\/em> interiors and Earth mecha. (He had previously contributed to Yamato 2<\/em> and The New Voyage<\/em>.)
\nTsuji Tadanao would design backgrounds and environments.<\/p>\n

<\/p>\n

This was Shinya Takahashi’s first stint as a character designer on a Yamato<\/em> production, but he had already done key animation for Farewell<\/em>, and would continue to stay involved all the way through Final Yamato<\/em> (1983) and Odin<\/em> (1985). Together, these works were only a small part of a very long career that’s still going as of this writing. See his astonishing credit list here<\/a>.<\/p>\n

<\/p>\n

February 1: The New Voyage<\/em>, Movie Terebi Magazine special<\/h3>\n

This full-color spinoff of Akita Shoten’s Movie Terebi<\/em> [TV] Magazine provided an excellent overview of The New Voyage<\/em> in 88 pages, organized by subject with original art heading up each section. Section 1 was a character and mecha guide and the subsequent sections presented a complete photo story.<\/p>\n


\nStoryboards for “Part A”<\/em><\/p>\n

February 5-21: Yamato Part III<\/em> production<\/h3>\n

Things got very busy very quickly as February advanced.<\/p>\n

Feb 5:<\/em> Production Setup meeting (main staff). The division of labor was established for design and storyboards. Following the Farewell to Yamato<\/em> production model, the script was divided into A, B, and C segments. Part C was divided into two segments for a total of four.<\/p>\n

Many months later, after the release of Be Forever Yamato<\/em>, Tokuma Shoten would dedicate a volume of its popular Roman Album book series to the film. It included staff essays about the work that began at this point. Read their essays here<\/a>.<\/p>\n

<\/p>\n

Feb 8:<\/em> Battle strategy concept meeting (Nishizaki, Masuda, Toyota, Fujikawa, Yamamoto, Katsumata, Tadanao). Battle scenes for the first half of the movie (script parts A and B) were worked out. The enemy invasion of Earth was discussed.<\/p>\n

Feb 18:<\/em> Keisuke Fujikawa and Hideaki Yamamoto completed the first script draft for Part A. Each part of the script would be reviewed by the writing staff and unified by Toshio Masuda.<\/p>\n

Feb 21:<\/em> Masaharu Endo and Takeshi Shirato began storyboarding Part A. Storyboards advanced in parallel with scriptwriting with a finishing deadline of May 10. Part A went from the beginning of the film through Mamoru Kodai’s death scene (about 30 minutes of screen time).<\/p>\n

\"\"<\/p>\n

February 21: Yamato 2<\/em> rerun begins on Yomiuri<\/h3>\n

The network that launched the original and debuted Yamato 2<\/em> added another rerun to its roster. Airing weekly, it would conclude on August 14 when Be Forever<\/em> was in first-run theaters.<\/p>\n

<\/p>\n

February 21: Roadshow<\/em>, April issue<\/h3>\n

It was too early for Part III<\/em> coverage in Roadshow<\/em>, but there was a connection of a different kind. Apocalypse Now<\/em> had recently opened in Japanese theaters, and several prominent filmmakers were asked for their impressions of it. One of them was Yoshinobu Nishizaki, who had this to offer:<\/p>\n

Testimony “Apocalypse Now<\/em> and Me”<\/span><\/h3>\n

Yoshinobu Nishizaki
\n(Producer)<\/em><\/span><\/p>\n

The individual images and sound effects are excellent, and as a whole, the film is very dense. However, in what sense was it necessary for a “film” to be produced at a cost of several billion yen? For example, I can’t find a critique that matches the drama, emotion, and musical match for the infinite human romanticism in The Godfather<\/em>.<\/span><\/p>\n

The audience empathizes with Captain Willard and is led to Colonel Kurtz. The portrayal of Kurtz’s camp in the last 30 minutes is unsatisfying. Suddenly we are thrown into the Kurtz situation and it’s not clear why he is there and where the people around him stood in the Vietnam War.<\/span><\/p>\n

I understand that the film is open to interpretation and that Coppola raises some issues, but I think the story should have been resolved at the end. The film should follow Captain Willard’s actions more clearly and explain the situation. I wanted it to have a beginning, development, turn and conclusion as a war movie.<\/span><\/p>\n

<\/p>\n

February 23: The Best One<\/em>, April issue<\/h3>\n

The Best One<\/em> had been around for almost a year at this point, and Yamato 2<\/em> coverage had been part of the premiere issue. With the series back on the air, it got a fresh look in a 3-page article that summarized the thrill ride of its last five episodes.<\/p>\n

<\/p>\n

In a short blurb at the end of this, The Best One<\/em> became the first source anywhere for the title of the film that was coming next:<\/p>\n

New Yamato<\/em> will be screened in the summer!<\/span><\/p>\n

The long-awaited new film Space Battleship Yamato 3, Be Forever Yamato<\/em> (tentative title) is currently in production. The film is scheduled to be screened at Toei theaters in early August.<\/span><\/p>\n

Space Battleship Yamato<\/em> has fought to protect love and peace in space. After surviving the destruction of the planet Gamilas and the deadly battle with the White Comet, Yamato<\/em> meets a new enemy. What will be the fate of Mamoru Kodai and Yuki Mori? And how will it end? Let’s wait with great anticipation to see what kind of epic anime it will be!<\/span><\/p>\n

<\/p>\n

Right after that came another look at Blue Noah<\/em>, which was now proceeding through its second half.<\/p>\n

<\/p>\n

February 25: Fan Club Magazine #14<\/h3>\n

Two days later, the most official source of them all confirmed both the title of the movie and its release date. Read the article by Yoshinobu Nishizaki here<\/a>.<\/p>\n

Also found in its pages were some new Yamato<\/em> interior designs by Katsumi Itabashi, lots of fan contribtuions, and episode guides for both Blue Noah<\/em> and The Blue Bird<\/em>. The back cover (above right) promoted Office Academy’s forthcoming New Voyage<\/em> hardcover book.<\/p>\n

<\/p>\n

There was other production news that did NOT get reported in the fan club magazine or any alternate source, official or otherwise: development of Yamato III<\/em> began immediately after development of Be Forever<\/em> concluded. The plan was turned over to Eiichi Yamamoto, who was a key participant in the development of Series 1. (He wrote the first planning book, which can be read in full here<\/a>.) He was appointed as Yamato III<\/em>‘s Supervising Director in December 1979. Pre-production informally began in February 1980 when he worked out the story with another veteran Series 1 writer, Aritsune Toyota.<\/p>\n

Just imagine, if you can, what it was like to be Yoshinobu Nishizaki at this moment. You’ve got two anime series in production and being broadcast, the most complex feature film of your career in preproduction, and off to the side, you put a new Yamato<\/em> TV series in development. And this still wasn’t everything Academy had going on. Look for one more item at the end of this report.<\/p>\n

<\/p>\n

Anime magazines published in February: Animage<\/em> March issue (Tokuma Shoten), OUT<\/em> April issue (Minori Shobo), The Anime<\/em> March issue (Kindaieigasha), Monthly Animation<\/em> No. 2 (Bronze Co.)<\/p>\n

\n
\n

<\/p>\n

March 6-18: Be Forever Yamato<\/em> production<\/h3>\n

The Part A storyboards were completed on March 6 and turned over to the animation staff at Toei to begin the main body of production. They held a an opening ceremony on March 17 and animation work officially began thereafter. On the next day, the Part B storyboard was completed and the script for Part C was revised so storyboarding could continue without interruption.<\/p>\n

<\/p>\n

The front page for storyboard part B included a self-portrait by the hardworking Takeshi Shirato. This segment went from the arrival at asteroid Icarus to just after the destruction of the Dezarium supply base, just under 30 minutes of screen time.<\/p>\n

<\/p>\n

March 24: The Best One<\/em>, May issue<\/h3>\n

Blue Noah<\/em> was in its last week when this issue arrived just ahead of the finale on March 29. Over the preceding month, the sea carrier had finally been transformed into the titular space carrier and proceeded to beat the daylights out of the Godom invaders. When it ended, it would be the last time Blue Noah<\/em> was seen on Japanese TV until the distant year 2024, when it would make a 45th anniversary comeback on BS10 Star Channel. <\/p>\n

In the interim, international audiences would discover it dubbed in English as Thundersub<\/em> (watch it on Youtube here<\/a>). Regrettably, no documentation of its English version has yet been found, or you would certainly have seen it here on Cosmo DNA.<\/p>\n

<\/p>\n

<\/p>\n

March 12: Daily Gendai<\/em> article<\/h3>\n

In June 1979, an unusual novelization of the first Yamato<\/em> series appeared with a very high profile author’s name on it: Hitomi Takagaki, whose career in adventure novels began over fifty years earlier. It was called the Space Battleship Yamato<\/em> “Hot Blood” novel, and you can read more about it here<\/a>.<\/p>\n

Takagaki’s long-awaited comeback motivated the Daily Gendai<\/em> newspaper to track him down for a brief interview in their “Where are they now” column.<\/p>\n

Read that article here<\/a><\/p>\n

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

March 24-26: Farewell to Yamato<\/em> screenings<\/h3>\n

Farewell to Yamato<\/em> made a three-day comeback at the Sakurajima Sankei Hall theatre in Tokyo (mini-flyer shown above left). The theatre was named after a volcano in Kyushu, which was fitting given the eruption of activity that would soon take place.<\/p>\n

March 30: Yamato 2<\/em> roman album<\/h3>\n

Tokuma Shoten\u2019s third Yamato<\/em> Roman Album was yet another milestone in the evolution of anime publishing. The line had gained momentum since the Farewell to Yamato<\/em> edition, with another 20 volumes being published over 18 months. Now labeled as an Animage<\/em> Special (to cross-promote Tokuma\u2019s highly successful monthly magazine), Roman Album 31 offered unparalleled coverage of Yamato 2<\/em> in 122 pages with a full-color episode guide, a feature on production history up to The New Voyage<\/em>, extensive staff essays (read them here<\/a>), model sheets, and even some pages from recording scripts. It also had the distinction of being the first Yamato<\/em> Roman Album published after the debut of Star Blazers<\/em>, which made it a particularly hot commodity for English-speaking fans.<\/p>\n

Roman Albums were also known for unique features that never appeared anywhere else. This time it was a \u201cPerspective Illustration\u201d foldout by an artist named Hitoshi Ikematsu whose also did paintings for JAXA and textbooks on space exploration.<\/p>\n

<\/p>\n

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

Also spotted in march<\/h3>\n

<\/p>\n

Starlog #35, June issue<\/em><\/p>\n

The arrival of Starlog<\/em> issue 35 was a pivotal moment for Star Blazers<\/em> fans who had been loyally watching the show since its fall 1979 debut. Right there on the cover were the words “Animated SF Starblazers” (SIC) and inside was a 3-page article by James H. Burns titled “SF Animation at its best: Make Way for Star Blazers<\/em>.” For the vast majority of us, it was (A) the first mass media recognition of our new favorite and (B) the first detailed insight into its Japanese origins. <\/p>\n

Click here<\/a> to read a PDF with all pages<\/p>\n

As a result of this, Starlog<\/em> performed another service for us as well as a vehicle for an enterprising young fan named Mike Pinto to advertise the first ever Star Blazers<\/em> fan club. Where did that road lead? Click here<\/a> to find out.<\/p>\n

Read more about Starlog #35 here<\/a> and here<\/a><\/p>\n

<\/p>\n

Anime magazines published in March: Animage<\/em> April issue (Tokuma Shoten), Monthly Animation<\/em> No. 3 (Bronze Co.)<\/p>\n

<\/p>\n

OUT<\/em> May issue (Minori Shobo), The Anime<\/em> April issue (Kindaieigasha), Animec<\/em> No. 10 (Rapport)<\/p>\n

March Context<\/h3>\n

<\/p>\n

March 15: Phoenix 2772<\/em><\/p>\n

A feature film directed by Osamu Tezuka, based partially on his long-running manga. It was exported to English-speaking audiences in 1982 under the name Space Firebird<\/em>. Find more information here<\/a> and here<\/a>.<\/p>\n

March 19: Space Emperor God Sigma<\/em><\/p>\n

A 50-episode “super robot” TV series created by Toei. Takashi Iijima, who worked on Farewell to Yamato<\/em> when it was animated by Toei, joined Academy Studio to work on Blue Noah<\/em> and brokered a deal for Academy to handle production on God Sigma<\/em>. It just happened to feature Kodai’s voice actor Kei Tomiyama in the lead role. Find more information here<\/a> and here<\/a>.<\/p>\n

<\/p>\n

What’s next<\/h3>\n

Be Forever Yamato<\/em> production rockets forward, leading to the first media coverage and a public press conference that lays out expectations for a summer like none seen before. “Warp Dimension” is just one of the mysteries that ignites Yamato<\/em> Fever all over again. Set course for Vintage Report 25<\/a> to visit April and May 1980!<\/p>\n

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