小林治——Osamu Kobayashi，2202的“出演”

以下內(nèi)容是對(duì)該文章的渣翻。

The Science of Yamato 2202

The lead feature of Star Blazers/Yamato fan club magazine Vol. 7 (published May 2020) was a pair of interviews with the Yamato SF and scientific research staff, which brought a new level of insight into their work on the series. The first of those interviews is presented here; the second (a round-table discussion) can be found at the end of this page.

大和號(hào)2202的科學(xué)

《星辰開(kāi)拓者》/大和號(hào)粉絲俱樂(lè)部雜志Vol.7（2020年5月出版）的主要特色是對(duì)大和號(hào)SF研究人員和科學(xué)考證人員的采訪，這使得他們對(duì)該系列的工作有了新的認(rèn)識(shí)。這里是第一個(gè)訪談。第二個(gè)（圓桌會(huì)議）可以在這頁(yè)的結(jié)尾找到。

Yamato Space Science!

The work of SF research into the deep, unknown world

In the production of SF anime, scientific “backing” is needed to give accurate advice to the staff in depicting the worldview and scenes, and bringing “persuasiveness” to the mechanical concepts. Of course, this is one of the charms of the Space Battleship Yamato series, and it goes without saying that it largely depends on the help of SF (and scientific) professionals.

Their existence is known because they are listed in the credits, but do many people understand what kind of work SF research actually is?

This time, we’ll take up a rare opportunity to thoroughly spotlight the work of SF research in the Yamato series. Through the testimony of scientific professionals including Shinya Ogura who is handling Yamato 2205, The New Voyage, we will approach the importance and appeal of SF (and scientific research).

大和號(hào)的太空科學(xué)！

深入未知世界的SF研究工作

在制作科幻動(dòng)畫(huà)中需要科學(xué)作為“后盾”，給工作人員在描繪世界觀和場(chǎng)景時(shí)提供準(zhǔn)確的建議以及給機(jī)械概念帶來(lái)“說(shuō)服力”。當(dāng)然，這也是宇宙戰(zhàn)艦大和號(hào)系列的魅力之一，無(wú)需多言，它在很大程度上依賴科幻（和科學(xué)）專業(yè)人士的幫助。

他們的存在是眾所周知的，因?yàn)樗麄円脖涣性谥谱魅藛T中，但很多人知道SF研究到底是什么工作嗎？

這一次我們將利用一個(gè)難得的機(jī)會(huì)徹底聚焦宇宙戰(zhàn)艦大和號(hào)系列中的SF研究工作，這包括了目前正在處理《宇宙戰(zhàn)艦大和號(hào)2205：新的旅程》的小倉(cāng)信也在內(nèi)的科學(xué)專家的證言。我們將接近SF研究（和科學(xué)研究）的重要性及其吸引力。

What is SF Research in Yamato?

Shinya Ogura was a concept researcher for Yamato 2202 and is in charge of SF research for Yamato 2205, currently in production. In addition to working on many projects including the classic SF space anime Planetes, he is also a talented visual artist with an active role in original drawings and concept design. Even among anime fans, there are few opportunities to become acquainted with the real world of SF and scientific research. With Mr. Ogura as our guide, we talked about SF and science research for Yamato through the examples of 2202 and 2205.

什么是大和號(hào)的科幻研究？

小倉(cāng)信也是大和號(hào)2202的概念研究員，目前負(fù)責(zé)正處于制作狀態(tài)的大和號(hào)2205的SF研究。他參與了包括經(jīng)典科幻太空動(dòng)漫《行星》（Planetes）在內(nèi)的許多項(xiàng)目。即便是許多動(dòng)漫迷來(lái)說(shuō)，能了解科幻與科學(xué)研究的真正境界的機(jī)會(huì)也很少。在小倉(cāng)先生的指導(dǎo)下，我們將通過(guò)2202與2205的例子來(lái)談?wù)劥蠛吞?hào)的“科幻研究”與“科學(xué)研究”。

Shinya Ogura profile

Conceptual researcher and designer. Born in 1965. Freelancer. His representative works in anime are Planetes (2003), Gargantia on the Verdurous Planet (2013), Expelled from Paradise (2014), Yamato 2202 (2017-2019), and Gundam NT (2018). He is greatly experienced with anime visuals, original artwork, and conceptual design.

小倉(cāng)信也個(gè)人資料

概念研究者與設(shè)計(jì)師

生于1965年

自由職業(yè)者

他在動(dòng)漫領(lǐng)域的代表作：

·《星球》Planetes，2003年

·《翠星之加爾剛蒂亞》Gargantia on the Verdurous Planet，2013年

·《樂(lè)園追放》Expelled from Paradise，2014年

·《宇宙戰(zhàn)艦大和號(hào)2202》 Yamato 2202，2017—2019年

·《機(jī)動(dòng)戰(zhàn)士高達(dá)NT》Gundam NT，2018年

他在動(dòng)畫(huà)視覺(jué)、原創(chuàng)藝術(shù)和概念設(shè)計(jì)方面經(jīng)驗(yàn)豐富。

Proposals that make full use of illustration are a feature of Ogura’s SF research

Originally, I hoped to work in SF anime and movies, and I joined a company called Ogawa Modeling to work on modelbuilding for Director Sakyo Komatsu on Sayonara Jupiter (1984). That’s how I came be involved in this industry. It happened to be useful that I knew more about space than others, and before long I came to be engaged in the work of SF research. [Trivia note: the mecha designer for Sayonara Jupiter was Kazutaka Miyatake, who was also instrumental on the first two Yamato productions.]

充分利用插圖是小倉(cāng)信也在科幻研究方面的一大特色。

最初我希望在科幻動(dòng)畫(huà)與科幻電影行業(yè)中工作，因此我加入了一個(gè)名為小川建模的公司，并在1984年的《再見(jiàn)木星》(Sayonara Jupiter)為小松左京（Sakyo Komatsu）導(dǎo)演制作模型。這就是我進(jìn)入這個(gè)行業(yè)的原因。碰巧我比別人更了解太空，這對(duì)我很有幫助，不久后我就開(kāi)始從事科學(xué)考證工作。[注：《再見(jiàn)木星》的機(jī)械設(shè)計(jì)人員是Kazutaka Miyatake，他曾經(jīng)參與過(guò)前兩個(gè)大和號(hào)動(dòng)畫(huà)項(xiàng)目。]

The greatest concern in a proposal is the balance of reality and fantasy

I’ve been participating in Yamato‘s SF research since 2202, but the basis for the current Yamato series was established in the research done for Yamato 2199. So it can be said that the work I did to create material for the 2202 staff is built upon that of Tsukaso Kano (SF researcher) and Toshihiro Honda (science researcher).

（SF研究）中最令人注意的是現(xiàn)實(shí)與幻想之間的平衡。

我從2202起參與了大和號(hào)的SF研究，但目前大和號(hào)系列的基礎(chǔ)則是基于大和號(hào)2199所做的研究所建立的。所以可以說(shuō)，我為2202制作組創(chuàng)造素材的工作是建立在Tsukaso Kano（SF研究）和Toshihiro Honda（科學(xué)考證）的基礎(chǔ)上的。

We talked about the difference between SF research and scientific research in the roundtable discussion, so I won’t go into it now except to say that I think my work falls into the category of SF research. Since I also do original art for anime and conceptual design, there are many cases where I can present a visual when proposing a concept. That may be different from other researchers.

我們?cè)趫A桌會(huì)議中談到了科幻研究與科學(xué)研究的區(qū)別，所以我現(xiàn)在就不深入討論了，我想說(shuō)的是我的工作屬于科幻研究的范疇。同時(shí)我也為動(dòng)畫(huà)和概念設(shè)計(jì)做原創(chuàng)藝術(shù)，在很多情況下，我可以在提出一個(gè)概念的時(shí)候呈現(xiàn)一個(gè)視覺(jué)。這可能與其他研究人員的觀點(diǎn)不同。

Some of the materials I’m introducing here were created for the Yamato 2202 script meetings. Of course, not all of the concepts I suggested in these documents were used. In fact, almost nothing here was depicted on the surface of the series. (Laughs) But the main premise for an SF or science researcher is to point out misunderstandings and contradictions you should avoid in modern space SF – without being so particular about it that it spoils the fun of anime. In the work of SF research, keeping a balance of reality and fantasy is always a concern.

我在這里所介紹的一些材料是為了大和號(hào)2202腳本會(huì)議而制作的。當(dāng)然，并不是我的文檔里中所有建議性的概念都被使用了。事實(shí)上從表面上來(lái)看這個(gè)系列幾乎沒(méi)有任何東西被描繪出來(lái)。（笑）但科幻研究或科學(xué)研究人員的主要前提是指出在現(xiàn)代科幻小說(shuō)中應(yīng)該避免的誤解和矛盾，而不是過(guò)分強(qiáng)調(diào)，因?yàn)檫@樣會(huì)破壞動(dòng)畫(huà)的樂(lè)趣。在科幻研究工作中，保持現(xiàn)實(shí)與幻想的平衡一直是一個(gè)值得關(guān)注的問(wèn)題。

When an Andromeda with Garmillan specs appeared in Yamato 2202, “Who designed it?” became a topic among fans. In fact, Mr. Ogura was in charge of its design at the request of Director Habara.

當(dāng)一艘加米拉斯風(fēng)格的仙女座級(jí)戰(zhàn)列艦出現(xiàn)在宇宙戰(zhàn)艦大和號(hào)2202中時(shí)，“它是誰(shuí)設(shè)計(jì)的？”成為了粉絲們的討論話題。事實(shí)上她就是在導(dǎo)演羽原信義的要求下由小倉(cāng)先生設(shè)計(jì)出來(lái)的。

What research is hidden in the power of the “bond” between Teresa and Yamato?

In that respect, the value of the 2202 SF research I worked on is symbolic. It comes out at the end of the story. It’s “the power of bonds.” Harutoshi Fukui asked me, “How can we establish (with scientific thinking) the combined power of Teresa and the feelings of Yamato‘s crew to overthrow Gatlantis?” In response to that question, I proposed the almost occult concept of “bonds” and tried hard to connect it with modern space SF.

在大和號(hào)和特蕾莎之間的“緣”的力量下隱藏了哪些研究。

在這方面，我所從事的2202科幻研究項(xiàng)目中具有象征意義。它出現(xiàn)于故事的結(jié)尾。這就是“緣”的力量。福井晴敏問(wèn)我“我們?nèi)绾危ㄓ每茖W(xué)的思維）讓特蕾莎與大和號(hào)船員感情的聯(lián)合力量來(lái)消滅加特蘭蒂斯這一點(diǎn)成立？”為了回答這個(gè)問(wèn)題，我提出了近乎神秘的“緣”這一概念，并努力將其與現(xiàn)代科幻太空小說(shuō)聯(lián)系起來(lái)。

To explain it roughly in order, according to theoretical physicist Lisa Randall, gravity penetrates through dimensions from the viewpoint of physics. If we had something that could penetrate dimensions like gravity, it would be possible for a “higher dimensional” Teresa to combine her power with Yamato‘s crew in the “real dimension.” The “prayer” of Teresa and the “feelings” of Yamato‘s crew became something like a “unified information theory” that can penetrate dimensions. If we reduce that concept to a familiar word, you could call it a “bond.” This “bond” is exactly a combination “prayer” and “feelings.”

根據(jù)理論物理學(xué)家麗莎·蘭道爾（Lisa Randall）的解釋，引力從物理的角度穿透維度。我們有一種像重力這樣可以穿透維度的東西，“更高維度”的特蕾莎就有可能將她的力量與大和號(hào)船員在“真實(shí)維度”中結(jié)合起來(lái)。特蕾莎的“祈禱”和大和號(hào)船員團(tuán)體的“感受”變成了某種類(lèi)似能夠穿透唯獨(dú)的“統(tǒng)一信息理論”的東西。如果我們把這個(gè)概念簡(jiǎn)化成一個(gè)熟悉的詞，你可以稱之為“緣”。這種“聯(lián)系”正是“祈禱”和“感覺(jué)”的結(jié)合。

This proposal matched Mr. Fukui’s idea, so it was adopted. That’s the core of 2202, isn’t it? When I tried to explain that story concept in the Yamatalk for Chapter 6 (held June 14, 2018), I think some people saw Mr. Fukui rush in to stop me! (Laughs) Actually, what I was trying to talk about at the time was the “bond” forming that “core.” But I was stopped. (Laughs) That was my biggest task on 2202.

這一提議符合福井晴敏先生的想法，因此被采納。那是2202的核心，不是嗎？當(dāng)我試圖在2202第六章的大和號(hào)座談會(huì)（2018年6月14日舉行）中解釋這個(gè)故事概念時(shí)，我想有些人會(huì)看到福井先生沖進(jìn)來(lái)阻止我！（笑）實(shí)際上，我當(dāng)時(shí)想說(shuō)的是形成“核心”的“紐帶”。但我被制止了。（笑）那是我在2202里最大的任務(wù)。

In Yamato 2205, we pay more attention to SF research than the previous work

In contrast with the space travel in 2199, 2202 had the story characteristics of Farewell to Yamato, so it was difficult to incorporate scientific things, especially astronomical elements. The fantasy was emphasized in this remake. Of course, that’s how it should be. On the other hand, the opinion might be, “Ogura didn’t do any SF research!” But no, I wasn’t playing hooky! (Laughs)

在大和號(hào)2205中，我們將比以前更注重對(duì)科幻方面的研究。

與宇宙戰(zhàn)艦大和號(hào)2199中的太空旅行相比，2202具有《再見(jiàn)了，大和號(hào)》的故事特點(diǎn)（譯者注：這里指的是舊版的劇場(chǎng)版動(dòng)畫(huà)《再見(jiàn)了愛(ài)的戰(zhàn)士》，2202的部分情節(jié)就是基于該劇場(chǎng)版重制的），很難將科學(xué)方面的星系，尤其是天文元素融入其中。（因?yàn)椋┻@部重制動(dòng)漫強(qiáng)調(diào)了奇幻色彩。當(dāng)然，事情應(yīng)該是這樣的。另一方面，人們的意見(jiàn)可能是“小倉(cāng)沒(méi)有做過(guò)任何科幻研究！”，“不，我沒(méi)有逃學(xué)！”（笑）

因此對(duì)于目前正在制作的2205，我相比之前的工作更深入地進(jìn)行科學(xué)研究。就我個(gè)人而言，我想把伊斯坎達(dá)爾和加米拉斯看作是行星。我期待看到這將如何反映在實(shí)際描繪里。如果類(lèi)地行星與它的恒星分離將會(huì)發(fā)生什么？在神戶大學(xué)主攻行星學(xué)的Shosuke Hayashi教授曾就此發(fā)表過(guò)演講。

The purpose of Yamato‘s SF research is to get closer to the world of roman [adventure]

For an SF researcher, one of the charms of Yamato as space SF anime is that each work is different. For me, it’s the “view of space.” From time to time, the people working on it take in the latest information, such as Aritsune Toyota on the 1974 series or Tsukasa Kano on Yamato 2199, and they organize it for the anime production staff to create concepts and visuals that attract the audience. Of course, because this reflects the view of space held by the audience at that time, the depictions will inevitably change, won’t they?

大和的科幻研究的目的是為了更接近浪漫的世界。（冒險(xiǎn)）

對(duì)于一個(gè)科幻研究者來(lái)說(shuō)，宇宙戰(zhàn)艦大和號(hào)作為太空科幻動(dòng)畫(huà)的魅力之一就是每一部作品都是不同的。對(duì)我來(lái)說(shuō)這就是“對(duì)太空的看法”。工作人員需要時(shí)不時(shí)的吸收最新的信息，比如1974年的時(shí)候負(fù)責(zé)（舊版）宇宙戰(zhàn)艦大和號(hào)SF研究的豐田有恒，負(fù)責(zé)宇宙戰(zhàn)艦大和號(hào)2199SF研究的鹿野司，他們組織動(dòng)畫(huà)制作人員創(chuàng)建概念和視覺(jué)效果。當(dāng)然，這也反映了當(dāng)時(shí)觀眾對(duì)太空的看法，所以描述必然會(huì)發(fā)生變化，不是嗎？

On the other hand, Yamato also has the world of adventure, which has remained the same since 1974. No matter how the times change, it shines brilliantly without wavering. Needless to say, this is the principle axis of 2202. As SF researchers, we hope to help increase that brilliance for you while getting closer to the adventure of Yamato.

另一方面，大和號(hào)也有世界冒險(xiǎn)的一面，這是自1974年以來(lái)一直保持不變的。無(wú)論時(shí)代如何變遷，它的光輝永不動(dòng)搖。不用說(shuō)，這是2202的主軸，作為SF研究人員，我們希望能夠在幫你接近大和號(hào)的探險(xiǎn)的同時(shí)提高你的知識(shí)量。

On higher dimensions

[Explanation by Shinya Ogura]

This illustration was drawn to present a scientific interpretation of the “higher dimension” in which Teresa mainly exists. It is based on the concepts that Tsukasa Kano handled in Yamato 2199. There are various ideas about how many dimensions there are, but here we deal with 11 dimensions since Mr. Kano went with M theory (M = Membrane) which unifies superstring theories where elements are affected by the vibrations of “strings.” We can’t see these “surplus elements,” which fits in well with the “higher dimension” in which Teresa resides. Extra dimensions are a frontier research area, but the leading thought is that surplus dimensions are in a compacted state, smaller than elementary particles. This illustration visualizes that “compacted” state. The illustration predits it to be shaped like a Calabi-Yau Manifold, a keyword that appears in 2199 when Sanada explains the principle of the Wave-Motion Gun.

在更高維度

（小倉(cāng)信也的解釋）

這幅插圖是為了闡述特蕾莎主要存在于其中的“高維度”的科學(xué)解釋。它基于Tsukasa Kano在大和號(hào)2199中的處理的概念而提出。關(guān)于有多少維度，有各種各樣的觀點(diǎn)，但在這里。我們只討論11個(gè)維度。因?yàn)榭ㄖZ先生提出了M理論（M=膜），它統(tǒng)一了超弦理論，即元素受“弦”振動(dòng)的影響。我們看不到這些“多余的元素”，它們與特蕾莎居住的“更高維度”很好地契合。額外維度是一個(gè)前沿的研究領(lǐng)域，但主流觀點(diǎn)是，額外維度處于蜷縮狀態(tài)，小于基本粒子。這個(gè)插圖展示了“壓縮”的狀態(tài)。插圖說(shuō)明它的形狀類(lèi)似卡拉比-丘流形——這是在大和號(hào)2199里新見(jiàn)薰解釋波動(dòng)炮原理時(shí)出現(xiàn)的一個(gè)關(guān)鍵詞。

Confirmation of “warp”

[Explanation by Shinya Ogura]

This illustration is based on concepts handled by Tsukasa Kano. What’s important here is that space ships can accelerate to faster than light speed, which is prohibited by the Theory of Relativity. In other words, when Yamato travels faster than light, it moves in defiance of physical laws created by God. But there is a single exception to this, which is that the expansion speed of space itself is faster than the speed of light. So in order to eliminate the contradictions around Yamato going faster than light, it travels together with the surrounding space that is traveling faster than light. Here I’ve prepared an “alibi” to explain it. Even if it violates causality a little bit, does God not forgive?

“躍遷”的確認(rèn)

（小倉(cāng)信也的解釋）

這個(gè)插圖同樣基于Tsukasa Kano的概念。這里的重點(diǎn)是宇宙飛船可以加速到超光速——這是被相對(duì)論所禁止的。換句話說(shuō)，當(dāng)大和號(hào)的速度超過(guò)光速時(shí)，它違反了上帝創(chuàng)造的物理定律。但有一個(gè)例外，那就是空間本身的膨脹速度比光速還快。所以為了消除大和號(hào)比光速還快的理矛盾它就和周?chē)裙馑龠€快的空間一起運(yùn)動(dòng)。這里我準(zhǔn)備了一點(diǎn)“不在場(chǎng)證明”來(lái)解釋它。即便它違反了一點(diǎn)因果關(guān)系，難道上帝不會(huì)對(duì)此予以寬恕嗎？

Image of the White Comet

[Explanation by Shinya Ogura]

These images were drawn for Mr. Fukui and the script team to share the image and sense of scale of the White Comet. The front view extracts the image from the original work, Farewell to Yamato, and the large figure shows how the White Comet moves forward like a spaceship. This is a consideration of how it works. On the assumption that a kind of “field promotion” is used, it is a mechanism that advances forward by moving the space in front of it backward. Its drive system consists of energy rings being sent backward from the tip of the White Comet through the surrounding outer layer of hot, high-pressure gas, so the outer layer of gas becomes “wavy.”

白色彗星的圖像

（小倉(cāng)信也的解釋）

這些圖片是為了福井先生和劇本團(tuán)隊(duì)繪制的，目的是分享這顆白色彗星的圖像和規(guī)模感，前視圖提取自原作品《再見(jiàn)了大和號(hào)》，大圖則顯示了白色彗星如何像宇宙飛船一樣向前移動(dòng)。這是對(duì)它如何運(yùn)行的一個(gè)考慮。假設(shè)白色彗星使用了一種“場(chǎng)促進(jìn)”，這是一種通過(guò)將前面的空間向后移動(dòng)而向前推進(jìn)的機(jī)制。它的驅(qū)動(dòng)系統(tǒng)由能量環(huán)組成，這些能量環(huán)從白色彗星的頂端向后通過(guò)周?chē)母邷馗邏簹怏w外層發(fā)射，因此外層氣體就變成了“波狀”。

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本次翻譯到此結(jié)束。