原地址：https://ourstarblazers.com/vault/489a/

人物名称罗马音对照：

小仓信也——Shinya Ogura，2202的SF研究人员

福井晴敏——Harutoshi Fukui，2202的系列构成与脚本（即编剧）

小林治——Osamu Kobayashi，2202的“出演”

以下内容是对该文章的渣翻。

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.

大和号2202的科学

《星辰开拓者》/大和号粉丝俱乐部杂志Vol.7（2020年5月出版）的主要特色是对大和号SF研究人员和科学考证人员的采访，这使得他们对该系列的工作有了新的认识。这里是第一个访谈。第二个（圆桌会议）可以在这页的结尾找到。

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).

大和号的太空科学！

深入未知世界的SF研究工作

在制作科幻动画中需要科学作为“后盾”，给工作人员在描绘世界观和场景时提供准确的建议以及给机械概念带来“说服力”。当然，这也是宇宙战舰大和号系列的魅力之一，无需多言，它在很大程度上依赖科幻（和科学）专业人士的帮助。

他们的存在是众所周知的，因为他们也被列在制作人员中，但很多人知道SF研究到底是什么工作吗？

这一次我们将利用一个难得的机会彻底聚焦宇宙战舰大和号系列中的SF研究工作，这包括了目前正在处理《宇宙战舰大和号2205：新的旅程》的小仓信也在内的科学专家的证言。我们将接近SF研究（和科学研究）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.

什么是大和号的科幻研究？

小仓信也是大和号2202的概念研究员，目前负责正处于制作状态的大和号2205的SF研究。他参与了包括经典科幻太空动漫《行星》（Planetes）在内的许多项目。即便是许多动漫迷来说，能了解科幻与科学研究的真正境界的机会也很少。在小仓先生的指导下，我们将通过2202与2205的例子来谈谈大和号的“科幻研究”与“科学研究”。

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.

小仓信也个人资料

概念研究者与设计师

生于1965年

自由职业者

他在动漫领域的代表作：

·《星球》Planetes，2003年

·《翠星之加尔刚蒂亚》Gargantia on the Verdurous Planet，2013年

·《乐园追放》Expelled from Paradise，2014年

·《宇宙战舰大和号2202》 Yamato 2202，2017—2019年

·《机动战士高达NT》Gundam NT，2018年

他在动画视觉、原创艺术和概念设计方面经验丰富。

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.]

充分利用插图是小仓信也在科幻研究方面的一大特色。

最初我希望在科幻动画与科幻电影行业中工作，因此我加入了一个名为小川建模的公司，并在1984年的《再见木星》(Sayonara Jupiter)为小松左京（Sakyo Komatsu）导演制作模型。这就是我进入这个行业的原因。碰巧我比别人更了解太空，这对我很有帮助，不久后我就开始从事科学考证工作。[注：《再见木星》的机械设计人员是Kazutaka Miyatake，他曾经参与过前两个大和号动画项目。]

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）中最令人注意的是现实与幻想之间的平衡。

我从2202起参与了大和号的SF研究，但目前大和号系列的基础则是基于大和号2199所做的研究所建立的。所以可以说，我为2202制作组创造素材的工作是建立在Tsukaso Kano（SF研究）和Toshihiro Honda（科学考证）的基础上的。

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.

我们在圆桌会议中谈到了科幻研究与科学研究的区别，所以我现在就不深入讨论了，我想说的是我的工作属于科幻研究的范畴。同时我也为动画和概念设计做原创艺术，在很多情况下，我可以在提出一个概念的时候呈现一个视觉。这可能与其他研究人员的观点不同。

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.

我在这里所介绍的一些材料是为了大和号2202脚本会议而制作的。当然，并不是我的文档里中所有建议性的概念都被使用了。事实上从表面上来看这个系列几乎没有任何东西被描绘出来。（笑）但科幻研究或科学研究人员的主要前提是指出在现代科幻小说中应该避免的误解和矛盾，而不是过分强调，因为这样会破坏动画的乐趣。在科幻研究工作中，保持现实与幻想的平衡一直是一个值得关注的问题。

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.

当一艘加米拉斯风格的仙女座级战列舰出现在宇宙战舰大和号2202中时，“它是谁设计的？”成为了粉丝们的讨论话题。事实上她就是在导演羽原信义的要求下由小仓先生设计出来的。

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.

在大和号和特蕾莎之间的“缘”的力量下隐藏了哪些研究。

在这方面，我所从事的2202科幻研究项目中具有象征意义。它出现于故事的结尾。这就是“缘”的力量。福井晴敏问我“我们如何（用科学的思维）让特蕾莎与大和号船员感情的联合力量来消灭加特兰蒂斯这一点成立？”为了回答这个问题，我提出了近乎神秘的“缘”这一概念，并努力将其与现代科幻太空小说联系起来。

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.”

根据理论物理学家丽莎·兰道尔（Lisa Randall）的解释，引力从物理的角度穿透维度。我们有一种像重力这样可以穿透维度的东西，“更高维度”的特蕾莎就有可能将她的力量与大和号船员在“真实维度”中结合起来。特蕾莎的“祈祷”和大和号船员团体的“感受”变成了某种类似能够穿透唯独的“统一信息理论”的东西。如果我们把这个概念简化成一个熟悉的词，你可以称之为“缘”。这种“联系”正是“祈祷”和“感觉”的结合。

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.

这一提议符合福井晴敏先生的想法，因此被采纳。那是2202的核心，不是吗？当我试图在2202第六章的大和号座谈会（2018年6月14日举行）中解释这个故事概念时，我想有些人会看到福井先生冲进来阻止我！（笑）实际上，我当时想说的是形成“核心”的“纽带”。但我被制止了。（笑）那是我在2202里最大的任务。

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)

在大和号2205中，我们将比以前更注重对科幻方面的研究。

与宇宙战舰大和号2199中的太空旅行相比，2202具有《再见了，大和号》的故事特点（译者注：这里指的是旧版的剧场版动画《再见了爱的战士》，2202的部分情节就是基于该剧场版重制的），很难将科学方面的星系，尤其是天文元素融入其中。（因为）这部重制动漫强调了奇幻色彩。当然，事情应该是这样的。另一方面，人们的意见可能是“小仓没有做过任何科幻研究！”，“不，我没有逃学！”（笑）

因此对于目前正在制作的2205，我相比之前的工作更深入地进行科学研究。就我个人而言，我想把伊斯坎达尔和加米拉斯看作是行星。我期待看到这将如何反映在实际描绘里。如果类地行星与它的恒星分离将会发生什么？在神户大学主攻行星学的Shosuke Hayashi教授曾就此发表过演讲。

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为了更接近浪漫的世界。（冒险）

对于一个科幻研究者来说，宇宙战舰大和号作为太空科幻动画的魅力之一就是每一部作品都是不同的。对我来说这就是“对太空的看法”。工作人员需要时不时的吸收最新的信息，比如1974年的时候负责（旧版）宇宙战舰大和号SF研究的丰田有恒，负责宇宙战舰大和号2199SF研究的鹿野司，他们组织动画制作人员创建概念和视觉效果。当然，这也反映了当时观众对太空的看法，所以描述必然会发生变化，不是吗？

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，大和号也有世界冒险的一面，这是自1974年以来一直保持不变的。无论时代如何变迁，它的光辉永不动摇。不用说，这是2202的主轴，作为SF研究人员，我们希望能够在帮你接近大和号的探险的同时提高你的知识量。

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.

在更高维度

（小仓信也的解释）

这幅插图是为了阐述特蕾莎主要存在于其中的“高维度”的科学解释。它基于Tsukasa Kano在大和号2199中的处理的概念而提出。关于有多少维度，有各种各样的观点，但在这里。我们只讨论11个维度。因为卡诺先生提出了M理论（M=膜），它统一了超弦理论，即元素受“弦”振动的影响。我们看不到这些“多余的元素”，它们与特蕾莎居住的“更高维度”很好地契合。额外维度是一个前沿的研究领域，但主流观点是，额外维度处于蜷缩状态，小于基本粒子。这个插图展示了“压缩”的状态。插图说明它的形状类似卡拉比-丘流形——这是在大和号2199里新见薰解释波动炮原理时出现的一个关键词。

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?

“跃迁”的确认

（小仓信也的解释）

这个插图同样基于Tsukasa Kano的概念。这里的重点是宇宙飞船可以加速到超光速——这是被相对论所禁止的。换句话说，当大和号的速度超过光速时，它违反了上帝创造的物理定律。但有一个例外，那就是空间本身的膨胀速度比光速还快。所以为了消除大和号比光速还快的理矛盾它就和周围比光速还快的空间一起运动。这里我准备了一点“不在场证明”来解释它。即便它违反了一点因果关系，难道上帝不会对此予以宽恕吗？

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.”

白色彗星的图像

（小仓信也的解释）

这些图片是为了福井先生和剧本团队绘制的，目的是分享这颗白色彗星的图像和规模感，前视图提取自原作品《再见了大和号》，大图则显示了白色彗星如何像宇宙飞船一样向前移动。这是对它如何运行的一个考虑。假设白色彗星使用了一种“场促进”，这是一种通过将前面的空间向后移动而向前推进的机制。它的驱动系统由能量环组成，这些能量环从白色彗星的顶端向后通过周围的高温高压气体外层发射，因此外层气体就变成了“波状”。

 

本次翻译到此结束。