{"id":39025,"date":"2023-12-07T14:46:03","date_gmt":"2023-12-07T22:46:03","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=39025"},"modified":"2024-12-07T22:24:53","modified_gmt":"2024-12-08T06:24:53","slug":"newtype1124","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/newtype1124\/","title":{"rendered":"NewType<\/em> magazine, November 2024"},"content":{"rendered":"

<\/p>\n

<\/p>\n

It’s time to raise the anchor<\/h2>\n

Space Battleship Yamato<\/em> is celebrating its 50th anniversary on TV. Let’s reaffirm its historical significance and think about what awaits at the end of the journey that continues to this day.<\/p>\n

Text by Ryusuke Hikawa and Hiroyuki Kawai<\/em><\/p>\n

The miraculous ship that has continued for more than half a century<\/h3>\n

Space Battleship Yamato<\/em>, which is celebrating its 50th anniversary, is a TV anime that decisively changed the course of anime history. Earth is invaded by aliens and is on the verge of destruction. In search of a device to save it, Yamato<\/em> travels a huge distance of 148,000 light years one way. The adventure and romance, detailed images and solid world view appealed to teens, and finally anime was freed from the constraints of being “for children.”<\/p>\n

In the summer of 1977, it was re-edited into a theatrical film of just over two hours, which became a huge hit and caused a social phenomenon. Farewell to Yamato<\/em>, the sequel released in the summer of 1978, was the second highest-grossing Japanese film of the year, solidifying the “anime boom.” Magazines, related books, merchandise, and records generated a high economic impact, solidifying anime’s status as an entertainment medium.<\/p>\n

Since then, Yamato<\/em>‘s journey has continued with more TV series and theatrical films. Set in vast space, it presents a drama full of empathy with conflict between interstellar nations, and the Yamato<\/em> crew always shows their indomitable spirit.<\/p>\n

That enthusiasm led to a new start in 2012. Creators who had been inspired by Yamato<\/em> and entered the anime industry began a remake series using the latest technology based on their current values. Starting with Space Battleship Yamato 2199<\/em> directed by Yutaka Izubuchi, they are still on the journey pioneered in the early days of the anime boom.<\/p>\n

But the voyage never follows the same route. While respecting the original work, Yamato<\/em> is full of unique challenges for the future, such as what meaning was contained in it, what can be done now using various elements, and how to evoke surprise and emotion in the story.<\/p>\n

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<\/p>\n<\/div>\n

The soul inherited from Be Forever<\/em><\/h2>\n

To change the future of despair<\/h3>\n

Be Forever Yamato REBEL 3199<\/em> Chapter 1, released on July 19th, depicts the invasion of Earth by a new threat, Dezarium. The mysterious giant object “Grand Reverse” is shot to Earth, and the capital is quickly taken over by sweeping tripod tanks and drop troops. A tough situation unfolds. Most of the Yamato<\/em> crew were reassigned as punishment for their independent actions in the previous work’s “Iscandar Incident,” but they begin to take action in the face of crisis on Earth.<\/p>\n

This invasion is dotted with “strangeness” different from the past. Dezarium likes Earth’s classical music and is interested in more than just invasion. And some of the Earth Federation government and high-ranking military officials are acting in a way that benefits the enemy. That is why Susumu Kodai and his friends have become “rebels” as written in the title, and have taken action to get closer to the truth themselves.<\/p>\n

During the escape from Earth, Susumu Kodai separates from Yuki Mori, and Alphon, a Dezarium’s intelligence officer, approaches the injured Yuki. What will become of the love between Kodai and Yuki? And what will become of Sasha, Starsha’s last orphan who appeared in the previous film?<\/p>\n

In Chapter 2: Red Sun Sortie<\/em>, which will be screened from November 22nd, Dezarium’s Holy Leader Skaldart will appear early. What is the relationship between the “dark millennium history” he speaks of and 3199<\/em>? Whether you know the previous film Be Forever Yamato<\/em> or not, you will be presented with surprising facts and new mysteries one after another.<\/p>\n

The message of the Yamato<\/em> story remains unchanged across the ages. No matter what kind of powerful enemies appear, no matter what kind of hardships befall them, they never give in to despair, but continue to fight to seize hope and inspire action. This universal message is sure to move the souls of the audience.<\/p>\n

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<\/p>\n<\/div>\n

Harutoshi Fukui interview<\/h2>\n

Many mysteries will be revealed in the second chapter!<\/h3>\n

Interviewer:<\/em><\/span> Mr. Fukui, you joined the remake series from Yamato 2202<\/em>. What was your initial mindset?<\/p>\n

Fukui:<\/em><\/span> I was approached about 2202<\/em> purely as a series writer. At first, I was conscious of my responsibility for the story, but I had no intention of actively getting involved in other elements. However, within three weeks of starting production on 2202<\/em>, I was in a position that was not much different from now. (Laughs)<\/p>\n

Interviewer:<\/em><\/span> What did you pay particular attention to when participating in the Yamato<\/em> remake series?<\/p>\n

Fukui:<\/em><\/span> I think there are various ways to interpret Yamato<\/em>. While it was a festival-like work for the first generation of anime fans, the theme is something that “touches the soul of the Japanese people.” Although 2202<\/em> is a sequel to Yamato 2199<\/em>, I felt that my mission was to once again sublimate and reexamine the social nature of Yamato<\/em>.<\/p>\n

Interviewer:<\/em><\/span> You’ve been involved in the core of the series since 2202<\/em>, and have been appointed general director of REBEL 3199<\/em>.<\/p>\n

Fukui:<\/em><\/span> Initially, I thought I’d completed my mission with 2202<\/em>. However, after having made such a big move as “bringing back Kodai and Yuki through a referendum by the entire human race on Earth,” I felt it would be irresponsible to leave it to someone else. There was the possibility that the theme I worked so hard to depict would come to nothing. So when I accepted the sequel, I submitted the plans for Yamato 2205<\/em> and REBEL 3199<\/em> together.<\/p>\n

Interviewer:<\/em><\/span> The world of the Yamato<\/em> remake series that you’ve created, including 3199<\/em>, contains a sense of fear that it could actually happen.<\/p>\n

Fukui:<\/em><\/span> Basically, it’s an extension of the direction that 2202<\/em> established. It’s built by adding elements of the real world, and there’s a sense that the worldview of the remake series is surprisingly synchronized with the real world.<\/p>\n

Interviewer:<\/em><\/span> The structure of 3199<\/em> where “Earth is not a monolith” is shocking, but I think it’s a development that makes sense in modern times.<\/p>\n

Fukui:<\/em><\/span> That’s right. For example, the development of the original Yamato<\/em> series, where “new aliens attack every year” seemed out of the blue at the time. But now, living in a country where “once in a millennium” disasters occur every year, it doesn’t seem so outlandish. The way we perceive it is clearly different from the Showa era.<\/p>\n

Interviewer:<\/em><\/span> In Yamato III<\/em>, one of the original works for 3199<\/em>, the conflict between Galman-Gamilas and the Bolar Federation was likened to the Cold War between the United States and the Soviet Union, and Earth was depicted as being powerless to do anything, which is interesting because it applies to Japan in the present day.<\/p>\n

Fukui:<\/em><\/span> I feel that Yamato III<\/em> was trying to approach the theme of the first Yamato<\/em> once again. I felt a strong intention to “rebuild Yamato<\/em>” by asking what Japan can do, caught between the United States and the Soviet Union. On the other hand, it’s clear that Be Forever<\/em> (the other original work for 3199<\/em>) was definitely aimed at renewing Yamato<\/em>, and it’s clear that the original series was reaching a turning point.<\/p>\n

Interviewer:<\/em><\/span> A new director, Naomichi Yamato, was appointed for 3199<\/em>. As the director’s generation gradually changes, have there been any changes in the way the film is presented?<\/p>\n

Fukui:<\/em><\/span> Mr. Yamato was involved in directing each episode of 2205<\/em>, and I felt that he was a person with very high processing power. He’s skilled in how to show special effects, and how to build up the amount of information in one shot to bring out emotions. Of course, there was merit in the method of showing things slowly in the cel anime era, but nowadays, it is mainstream to show things by piling up information. Thanks to him, the images are probably good enough for you to say, “If you can watch it at double speed, try it!” (Laughs)<\/p>\n

\n

<\/p>\n<\/div>\n

Interviewer:<\/em><\/span> In 3199<\/em>, Kodai faces an unprecedented crisis in which he is separated from Yuki. Has there been any change in the way Kodai is portrayed?<\/p>\n

Fukui:<\/em><\/span> Kodai in the remake series is consistently life-sized. In the first original work, Kodai’s position was also unstable in the early stages, but I think the character was established when his childhood was depicted in Episode 13. From then on, he was portrayed as a life-sized young man, just like the viewers. In the subsequent stories, he was portrayed as a calm hero and a reliable captain, and that image became established. In the remake series, there is a desire to return that impression to Kodai in the original.<\/p>\n

Interviewer:<\/em><\/span> At the end of 2202<\/em>, Kodai’s fate was unintentionally entrusted to the people of Earth, which attracted attention.<\/p>\n

Fukui:<\/em><\/span> That’s right. At the end of 2202<\/em>, Kodai and Yuki ended up becoming “the most expensive couple in the world,” and Kodai was forced into a situation where he was only allowed to live for the sake of Earth. He was freed of that in 2205<\/em>, and in 3199<\/em> he returns to life-sized Kodai. I hope that the impression of Kodai depicted in this second chapter will be received as a very ordinary young man.<\/p>\n

Interviewer:<\/em><\/span> On the other hand, Yuki in the remake series seems like a very proactive woman. Her way of life, in which she stands up to adversity without giving in, stands out in this work as well.<\/p>\n

Fukui:<\/em><\/span> Part of the heroism that Kodai once had has been allocated to Yuki. The remake series’ portrayal of Yuki’s ability to adapt and act reflects the times. If she were a Showa era woman, she might have “silently followed Kodai,” but does that mean that the old Yuki was weak? I don’t think that’s the case. For example, in Final Yamato<\/em>, she mistakes Kodai, who was put into suspended animation by a hyper radiation missile, for “dead” and tries to take her own life, right? That’s also a sign of strength and determination. The old and new Yuki are different in how they look, but I think they are the same in terms of “strength.”<\/p>\n

Interviewer:<\/em><\/span> In relation to Yuki, Alphon from Dezarium is in an important position.<\/p>\n

Fukui:<\/em><\/span> The original work separated Kodai and Yuki, and took a new approach of “portraying a double couple.” I think that the bold way of expanding the scope of the story was only possible because of the momentum of Yamato<\/em> at the time. The point of this work is to organize each of the attractive parts of the original series so that they fit together well. For example, Alphon is a rival to Kodai, but in the remake series, we’re trying to deepen the relationship between the two.<\/p>\n

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\nAd for Yamato publications from Kadokawa<\/em><\/p>\n<\/div>\n

Interviewer:<\/em><\/span> The concept of the Dezarium people itself seems to have a big impact on the story.<\/p>\n

Fukui:<\/em><\/span> An important concept that holds the key to the story will be revealed in the second chapter, so please look forward to it.<\/p>\n

Interviewer:<\/em><\/span> I feel that the actions of the Yamato<\/em> crew who remained on Earth will also affect future developments.<\/p>\n

Fukui:<\/em><\/span> The most important position among the crew who remained on Earth is probably Yasuo Nanbu. If you follow the corporate logic of Nanbu Heavy Industries, his father’s company, it is quite possible that they would decide to “cooperate with Dezarium.” However, there are naturally people who do not agree with this, and I think that by depicting the conflict as a parent-child relationship, the structure makes it easy to convey the conflict between the Earthlings.<\/p>\n

Interviewer:<\/em><\/span> I won’t go into it this time, but I get the impression that this is the work with the most mysteries in the remake series, including the mystery of Sasha.<\/p>\n

Fukui:<\/em><\/span> Be Forever<\/em> is a jack-in-the-box kind of work. But that part will be mostly revealed in the second chapter. The meaning of the title, the true identity of Dezarium, and other questions for those who already know Be Forever<\/em> will be answered. The second half of Chapter 2 may leave many new mysteries in your mind. From here on, it’s an unknown voyage.<\/p>\n

Interviewer:<\/em><\/span> It seems that long-time fans are excited about the fact that Keiko Han appeared in 2205<\/em>…<\/p>\n

Fukui:<\/em><\/span> There’s nothing surprising about it. Isn’t Han-san an original cast member (Sasha and Ruda Shalbart in the original series)? (Laughs)<\/p>\n

Interviewer:<\/em><\/span> On the other hand, I think new fans will also enjoy the shocking developments that they’ve never seen before.<\/p>\n

Fukui:<\/em><\/span> I think the Chapter 2 of 3199<\/em> is a very easy chapter to follow for fans who are watching Yamato<\/em> for the first time. A synopsis of the story so far is shown at the beginning, and as long as you understand the situation that “invaders came to Earth and the protagonist and heroine were separated,” I think you’ll be able to watch it without any discomfort even if it’s your first time. I hope you’ll enjoy this new journey at the theater.<\/p>\n

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

Return to REBEL 3199<\/em> report<\/a><\/p>\n

Return to Chapter 2 interviews<\/a><\/p>\n

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