原地址：https://ourstarblazers.com/vault/364/

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本站有這部OVA半成品的生肉：

先簡單介紹一下大和號2520，這是在1994由老版宇宙戰(zhàn)艦大和號系列制作人西崎義展主持制作的OVA動畫，原定6集，但因為制作室破產(chǎn)只留下了3集的半成品。本作一個值得稱道的地方是機設(shè)負責(zé)人是已經(jīng)作古的席德·米德大師（后來1999年席德米德大師為富野光頭的倒A高達制作了逆A高達、蘇摩等機體）。這一作的故事背景在標(biāo)題已經(jīng)有所提示：發(fā)生在公元2520年的第18代宇宙戰(zhàn)艦大和號的故事。

下面是譯文內(nèi)容：

In the 1980s, Yoshinobu Nishizaki wanted to sequelize Space Battleship Yamato in the worst way. In 1994, that’s just what he did.

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That may be a harsh way to start an overview of Yamato 2520, but with all the time that has passed since then, there aren’t many votes left to be counted.

在20世紀(jì)80年代，西崎義展想要以最壞的方式來制作宇宙戰(zhàn)艦大和號的續(xù)作。于是在1994年他付諸行動。

用這樣的描述方式作為大和號2520概述的開頭可能有些苛刻，但在當(dāng)時選擇已經(jīng)所剩無幾。

If one were to identify a repetitive obstacle in Yoshinobu Nishizaki’s career, it would have to be outsized ambition. On at least three separate occasions, outside forces conspired to chop a big idea down to a smaller one. It happened with the first Yamato TV series, it happened again on Yamato III, and the third time was the charm with the 1985 production of Odin. All were meant to run longer than they did, and only in one case did reduction lead to positive results.

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It was a perceived injustice that motivated Japanese fans to leap in and take matters into their own hands when the first series was cut short in 1975. Some admitted afterward that if it had gone its intended length of 39 episodes, they might not have felt the need to rise to its defense. Their action is what built the foundation for Yamato as a long-term franchise, but a twist of fate like that comes once in a lifetime. There was no such outrage over the shortening of Yamato III, and certainly none when Odin was reduced from a 12-hour series to a 2.5 hour feature film that still seemed too long. In both of those cases, the story didn’t fulfill its promise and the reduction had a chilling effect on future plans.

如果要找出西崎義展的職業(yè)生涯中一個反復(fù)出現(xiàn)的障礙，那一定是他那過大的抱負。至少在三個不同的場合，外部勢力合謀將西崎義展的“大想法”削減為一個小想法。這種情況首先發(fā)生在（老版）宇宙戰(zhàn)艦大和號第一個連續(xù)動畫，后來又再次發(fā)生在宇宙戰(zhàn)艦大和號3上，第三次是1985年制作的“Odin”。這些動畫本來應(yīng)該比它們的實際播出情況走得更為長遠，但在這樣一種情況下，故事的積極結(jié)果被削減。

（這段話翻譯的可能不太準(zhǔn)確，但就意思而言是想說西崎義展做動畫的時候始終會受到投資方的制約導(dǎo)致不能完全表達自己想做的東西）

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當(dāng)宇宙戰(zhàn)艦大和號的第一個系列于1975年被刪減時，這種被認(rèn)為有失公正的行為促使日本粉絲投入其中并親自解決問題。一些人后來承認(rèn)，如果宇宙戰(zhàn)艦大和號第一部達到了預(yù)期的39集長度，他們可能就不會覺得有必要站出來為它辯護了。他們的行動奠定了宇宙戰(zhàn)艦大和號作為一個長期特許經(jīng)營的基礎(chǔ)，但像這樣的命運轉(zhuǎn)折是一生僅有一次的。后來，宇宙戰(zhàn)艦大和號3的縮短時長并沒有引起如此強烈的憤怒，當(dāng)“Odin”從12小時的系列動畫削減到2.5小時的故事片時，更沒有引起如此強烈的憤怒反應(yīng)。在這兩種情況下，故事都沒有兌現(xiàn)其承諾，削減時長對未來的計劃產(chǎn)生了寒蟬效應(yīng)。

You have to hand it to Nishizaki, then, for going at it a fourth time with Yamato 2520. After a long stretch of building up and throwing away concepts for a new Yamato adventure (read about them in detail here), he got an idea from writer Soji Yoshikawa that he really liked: a far-future story in which neither the original ship nor characters would appear, but the legend would be revived. Yamato: The Next Generation.

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As a pure concept, there’s absolutely nothing wrong with it. But pushing it so far into the future that it ends up looking and feeling completely unlike the original can only result in one thing: another story that won’t go the distance. A sequel in the worst way.

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So now that the elephant’s out of the room, it might just be possible to examine Yamato 2520 on its own merits and see what it had to offer. Would it have won our hearts if its full story had been told, or was it justifiably put out of its misery? Let’s see if we can find out.

你不得佩服西崎義展，這是他第四次著手制作大和號2520。經(jīng)過長時間的構(gòu)思積累與廢案拋棄，他從作家吉川惣司那里得到了一個他真正喜歡的想法：一個遙遠未來的故事，既沒有曾經(jīng)的船也沒有曾經(jīng)的人物出現(xiàn)，但傳說將會復(fù)活。大和號：下一代。

（譯者注：就像大和號2520標(biāo)題的含義，發(fā)生在公元2520年，距離第一代宇宙戰(zhàn)艦大和號的故事過去了三百多年，第一代大和號的人與船已經(jīng)成為了歷史與傳說）

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作為一個純粹的概念，這絕對沒有錯。但如果把它推到遙遠的未來，讓它看起來和感覺上完全不同于最初的版本，結(jié)果只能是一件事：另一個無法持續(xù)的故事。一個最糟糕的續(xù)集。

（譯者注：反復(fù)刷了好幾遍2520生肉的技術(shù)神甫認(rèn)為2520如果沒有被腰斬會是一部佳作，但沒有如果。）

所以現(xiàn)在大象已經(jīng)從房子里出來了，也許可以看看大和號2520本身的優(yōu)點，看看它是否能提供什么。如果它全部的故事被講述出來是否能贏得我們的心？或者它會合理地從痛苦中解脫出來嗎？讓我們看看能不能找到答案。

The first images of 2520 were published in the June 1988 issue of the Yamato fan club magazine, photos that showed none other than world-class designer/futurist Syd Mead in conference with Nishizaki, Leiji Matsumoto, and a core group of West Cape insiders. Nishizaki had announced in the magazine six months earlier that he would commission the services of a world-famous American artist, and now everyone knew who it was. The ship they were designing still didn’t have a story behind it, but at the time everyone was more concerned with getting the symbol on paper.

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A subsequent issue showed the process in its next phase with modeler Makoto Kobayashi hard at work on a 3-D version of the ship. Photos of the finished model appeared shortly after that (shown at right) and actual production officially got started.

大和號2520的第一張照片刊登于1988年6月的《大和號粉絲俱樂部》雜志上，照片顯示的正是世界級設(shè)計師/未來主義者席德米德與西崎義展、松本零士，以及一個西開普核心內(nèi)部人士的會議。當(dāng)時西崎義展曾在六個月前宣布，他將委托一位世界級著名美國藝術(shù)家為他服務(wù)，現(xiàn)在大家都知道這位藝術(shù)家是誰了。他們設(shè)計的這艘船仍然沒有故事，但當(dāng)時每個人都更關(guān)心把符號寫在紙上。

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接下來的一個問題展示了下一個階段的過程，模型師小林誠正在努力制作一個3D版本的飛船。成品模型的照片在那之后不久就出現(xiàn)了（如圖所示），并正式開始實際生產(chǎn)。

The next sighting came in February 1994 with the release of The Quickening on VHS and laserdisc, an hour-long video documentary on the making of the saga. The production years were discussed in several on-camera interviews with Nishizaki and some of his key staff members. About half the program was devoted to the preproduction design for Yamato 2520, which included footage of Syd Mead interacting with Nishizaki and his crew. Mead is also shown working on a CG model of the ship, which was no mean feat for a desktop computer in the early 90s.

第二次出現(xiàn)是在1994年二月，當(dāng)時發(fā)行了VHS（家用錄像系統(tǒng)）和激光光盤，這是一部一小時時長的紀(jì)錄片，記錄了這個傳奇的制作過程。西崎義展和他的一些主要員工在幾次鏡頭采訪中討論了拍攝時間。節(jié)目中大約有一般時間是用于展示大和號2520的前期制作設(shè)計，其中包括了席德·米德與西崎義展及其團隊互動的鏡頭。席德米德還展示了一個艦船CG模型的制作，這對于90年代早期的臺式機電腦來說是一個不小的壯舉。

Syd Mead on the ship design: The challenge of taking the Matsumoto version of the Yamato to the next stage was that the TV animation series had a huge fan audience, first of all. And they expect to see or recognize that look, even though you’ve changed it quite a bit. The challenge was to keep the same three-dimensional silhouette and make it at the same time completely new, but somewhere inside the outline and the detail, you’d see the recognizable profile and characteristic of the Yamato.

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See a gallery of Syd Mead’s artwork here.

席德米德的飛船設(shè)計：松本零士版本大和號的挑戰(zhàn)在于，首先，電視動畫已經(jīng)有了大量的粉絲。即便是你改變了很多，他們?nèi)匀幌Ｍ芸吹交蛘J(rèn)出你的表情。挑戰(zhàn)是保持相同的三維輪廓同時使它完全是嶄新的，但在輪廓和細節(jié)的某個地方，你會看到可識別的大和號的輪廓與特征。

你可以在這里看到席德米德的藝術(shù)設(shè)計（原文指向一處網(wǎng)頁）

第一部分渣翻到此結(jié)束，下一部分會涉及到大和號2520的背景故事。