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

 

本站有这部OVA半成品的生肉：

先简单介绍一下大和号2520，这是在1994由老版宇宙战舰大和号系列制作人西崎义展主持制作的OVA动画，原定6集，但因为制作室破产只留下了3集的半成品。本作一个值得称道的地方是机设负责人是已经作古的席德·米德大师（后来1999年席德米德大师为富野光头的倒A高达制作了逆A高达、苏摩等机体）。这一作的故事背景在标题已经有所提示：发生在公元2520年的第18代宇宙战舰大和号的故事。

下面是译文内容：

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

 

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世纪80年代，西崎义展想要以最坏的方式来制作宇宙战舰大和号的续作。于是在1994年他付诸行动。

用这样的描述方式作为大和号2520概述的开头可能有些苛刻，但在当时选择已经所剩无几。

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.

 

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.

如果要找出西崎义展的职业生涯中一个反复出现的障碍，那一定是他那过大的抱负。至少在三个不同的场合，外部势力合谋将西崎义展的“大想法”削减为一个小想法。这种情况首先发生在（老版）宇宙战舰大和号第一个连续动画，后来又再次发生在宇宙战舰大和号3上，第三次是1985年制作的“Odin”。这些动画本来应该比它们的实际播出情况走得更为长远，但在这样一种情况下，故事的积极结果被削减。

（这段话翻译的可能不太准确，但就意思而言是想说西崎义展做动画的时候始终会受到投资方的制约导致不能完全表达自己想做的东西）

 

当宇宙战舰大和号的第一个系列于1975年被删减时，这种被认为有失公正的行为促使日本粉丝投入其中并亲自解决问题。一些人后来承认，如果宇宙战舰大和号第一部达到了预期的39集长度，他们可能就不会觉得有必要站出来为它辩护了。他们的行动奠定了宇宙战舰大和号作为一个长期特许经营的基础，但像这样的命运转折是一生仅有一次的。后来，宇宙战舰大和号3的缩短时长并没有引起如此强烈的愤怒，当“Odin”从12小时的系列动画削减到2.5小时的故事片时，更没有引起如此强烈的愤怒反应。在这两种情况下，故事都没有兑现其承诺，削减时长对未来的计划产生了寒蝉效应。

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.

 

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.

 

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.

你不得佩服西崎义展，这是他第四次着手制作大和号2520。经过长时间的构思积累与废案抛弃，他从作家吉川惣司那里得到了一个他真正喜欢的想法：一个遥远未来的故事，既没有曾经的船也没有曾经的人物出现，但传说将会复活。大和号：下一代。

（译者注：就像大和号2520标题的含义，发生在公元2520年，距离第一代宇宙战舰大和号的故事过去了三百多年，第一代大和号的人与船已经成为了历史与传说）

 

作为一个纯粹的概念，这绝对没有错。但如果把它推到遥远的未来，让它看起来和感觉上完全不同于最初的版本，结果只能是一件事：另一个无法持续的故事。一个最糟糕的续集。

（译者注：反复刷了好几遍2520生肉的技术神甫认为2520如果没有被腰斩会是一部佳作，但没有如果。）

所以现在大象已经从房子里出来了，也许可以看看大和号2520本身的优点，看看它是否能提供什么。如果它全部的故事被讲述出来是否能赢得我们的心？或者它会合理地从痛苦中解脱出来吗？让我们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.

 

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.

大和号2520的第一张照片刊登于1988年6月的《大和号粉丝俱乐部》杂志上，照片显示的正是世界级设计师/未来主义者席德米德与西崎义展、松本零士，以及一个西开普核心内部人士的会议。当时西崎义展曾在六个月前宣布，他将委托一位世界级著名美国艺术家为他服务，现在大家都知道这位艺术家是谁了。他们设计的这艘船仍然没有故事，但当时每个人都更关心把符号写在纸上。

 

接下来的一个问题展示了下一个阶段的过程，模型师小林诚正在努力制作一个3D版本的飞船。成品模型的照片在那之后不久就出现了（如图所示），并正式开始实际生产。

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.

第二次出现是在1994年二月，当时发行了VHS（家用录像系统）和激光光盘，这是一部一小时时长的纪录片，记录了这个传奇的制作过程。西崎义展和他的一些主要员工在几次镜头采访中讨论了拍摄时间。节目中大约有一般时间是用于展示大和号2520的前期制作设计，其中包括了席德·米德与西崎义展及其团队互动的镜头。席德米德还展示了一个舰船CG模型的制作，这对于90年代早期的台式机电脑来说是一个不小的壮举。

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.

 

See a gallery of Syd Mead’s artwork here.

席德米德的飞船设计：松本零士版本大和号的挑战在于，首先，电视动画已经有了大量的粉丝。即便是你改变了很多，他们仍然希望能看到或认出你的表情。挑战是保持相同的三维轮廓同时使它完全是崭新的，但在轮廓和细节的某个地方，你会看到可识别的大和号的轮廓与特征。

你可以在这里看到席德米德的艺术设计（原文指向一处网页）

第一部分渣翻到此结束，下一部分会涉及到大和号2520的背景故事。