Space Battleship Yamato (Space Battleship Yamato) is the progenitor of Japanese animation. The original and animation director is the famous Japanese manga artist Machishi Matsumoto. It represents the beginning of Japanese animation.
The surviving SF anime in the history of Japanese anime
In 2199 AD, Earth was in danger of extinction from being attacked by the fleet of the mysterious planet Garmilas, which flew from the Great Magellanic Cloud. The radioactive energy released by the star bomb polluted the surface of the earth, and humans had no choice but to flee to the ground and steal life, and the star bomb gradually began to corrode the ground, and the human survival time was only 1 year.
At this time, the distant Queen of Iskandar Star, Stasia, sent a message from this star that if the earthlings could go to her, she would send the artifact that could instantly restore the earth to its original state, that is, the "cosmic cleaner D" known as the ultra-technological machine.
At the same time, it also gave humans the manufacturing map of the "wave engine" that could reach her planet, because at that time, human beings had no time and ability to build spaceships, so the battleship "Yamato", which was sunk on the seabed during World War II, was transformed into a super space battleship that could dive and fly in the space and sail in the universe, and the "space battleship Yamato" was born.
Ancient Jin, who lost both of his parents due to an attack on Garmilas and lost his brother, his only relative, during the Battle of Pluto, ascended the Yamato as a tactical captain.
At first, The Ancient Jin existed as the commander of the Yamato Ship Okita Thirteen in the Battle of Mo Wangxing in the Battle of the Earth Fleet, because the original tactical chief candidate (his brother Gu Shou) was killed, and the ability of the Ancient Jin was recognized by the Okita commander, so he took up the position of tactical chief in the wartime special promotion, becoming an excellent man with great charm...
New and old talents gathered around the insect system
Yamamoto was originally scheduled to supervise, but because the schedule was not adjusted, the manga artist Matsumoto Zero, who participated as an art setting, was appointed as the supervisor, and Matsumoto's participation allowed the basic visual effects of the work to be determined.
However, since this game is set as a bengueT SF animation, there is no need for a huge setting. At the beginning of the project, everyone was working with the studio's Matsumoto to do most of the design and sketching work. Since there is no reference for the original work, the storyline is based on the planning book and some ideas from Matsumoto are added, and then decided by Nishizaki as producer at the STAFF meeting.
The script was written around Fujikawa. Fujikawa is a script writer who came from a realistic TV series and also participated in the production of "Wang Sajun". In the middle of the period, Yamamoto, who had returned from work on other programs, also joined the script.
The painting is an OFFIC composed of producers with rich production experience in Bug Production. ACADERMY's internal classes (Oka, Toyo Ashida, and Takao Ogawa) were produced as external studios, along with the animation team of Kazuhiko Utagawa, who was born in the production animation setting, Tiger Productions Company of Shiratome, who had experience in Toei Animation, and Kenzo Koizumi's studio (Ashida, Shirata, and Udagawa later played a non-negligible role in the sequel to this game).
In particular, the main production team composed of the external studios of Tiger Productions Company served as the main production team in the series, and Tiger Productions had young and capable Kazuhide Tominaga at that time. Isuke Kaneda, who was known as the no.1 producer as his friend at the time, also participated in the production.
The game has experienced a period of worm Production from an unexpected business crisis to bankruptcy and a strong flow of talent in the animation industry. Ishiguro had a deep connection with animation production when he was a student, and after working as a storyboarder and performer at animation companies such as TV Animation Company Onishi Productions, he was also associated with this game due to his participation in "Wang Sajun". Hanging on to the title of performance, Ishiguro actually holds the position of production director in this game.
Although Ishiguro only used dynamic effects such as fire, smoke, and water to depict explosions caused by battle scenes, it had a great influence on subsequent SF works.
The music production is made by Yasuya Miyagawa, who has composed many popular ballads. Miyagawa also participated in the planning of "Wang Sajun" as an official anime soundtrack, and Nishizaki took a fancy to Miyagawa's musical qualities before joining the team. The music budget of this game is much beyond the size of the average TV animation.
From "TV manga" to "anime" for young people
The game's broadcast time is 30 minutes every Sunday night from 7:30 p.m., but because the ratings have been stagnant, it has been shortened from the original plan of 39 episodes to 26 episodes. However, the ratings never rose, and was eventually replaced by the show "Heidi the Girl of the Alps", which was competing at the same time.
However, this game adds a serious SF element, in addition to depicting the growth of the protagonist and the reason for the invasion of the enemy Garmilas, there is also the theme of "not only to fight, but also to love", as a child-oriented "TV manga" makes many young people deeply fascinated.
Then after the unlucky first broadcast, the audiovisual rate continued to rise when it was broadcast again. Teenagers across Japan have formed fan organizations, and fan-to-peer exchanges have begun to flourish.
After the direct broadcast of the game, the production team was disbanded, Nishizaki returned to the original company, ishiguro, Tanabashi and others once again formed a team, as the supervisor of the TV series to participate in the final compilation of theatrical film by Toshio Umeda.
The theatrical version of the animated film Space Battleship Yamato was released in the summer of 1977, one and a half years after the TV anime was completed. On the occasion of the public, Nishizaki invited the fan group of the game to respond to the support, and carried out low-level activities such as the on-demand broadcast of the theme song of the radio program. On the first day of the theatrical release, movie theaters in Tokyo showed young people queuing up all night and rushing to queue up with the starters.
The theatrical animated film "Space Battleship Yamato" welcomed 20,000 people on the first day, and began to be released nationwide in the second week after its release, and the final box office set a record of 2.3 million people and 930 million yuan. Space Battleship Yamato has set off an anime boom as a popular social phenomenon. After this, the original title of "TV manga" was gradually replaced by "anime".
Nishizaki's valued "music" was also released as a sound source for the film when the theatrical version of the anime was released. Originally released, "Anime Compilation", which included a re-composition of the TV animation series, became the top spot on the public trust list. The soundtrack album released at the same time included "Symphonic Suite Space Battleship Yamato", which Was composed and composed by Miyagawa himself. The anime released a very rare soundtrack album and reached the third place on the public trust chart. After this game, the serialized "Space Battleship Yamato" music CD-ROM was sold in the first half of the 1980s, with a cumulative sales of 3 million copies. Due to the popularity of this game in music, animation has opened up a new market.
The following year, in 1978, the theatrical version of the sequel to the game, Goodbye Space Battleship Yamato's Loving Warriors, was released. Produced as a completely new film animation, "Goodbye Space Battleship Yamato Love Warriors" ranked second in the same year's Japanese film release box office revenue with 2.12 billion yuan.
Then, the TV anime series Space Battleship Yamato 2 began airing in the autumn of the same year until the release of Space Battleship Yamato's New Journey in 1979.
In 1980, the theatrical version of the animated film "Space Battleship Yamato Forever" and the TV anime series "Space Battleship Yamato 3" were launched, and in 1983, the "Space Battleship Yamato Finale" was launched.
Works such as the OVA series Yamato2520, which had a great change in settings after this, and the theatrical version of the animated film "Resurrection of space battleship Yamato" after the "Space Battleship Yamato Finale", were widely praised by fans.