本文所出現人物名稱羅馬音對照：
小倉信也——Shinya Ogura，2202的SF研究人員
福井晴敏——Harutoshi Fukui，2202的系列構成與腳本（即編劇）
小林治——Osamu Kobayashi，2202的「出演」
以下內容是對該文章的中英雙語對照翻譯。
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2202的科學
《星辰開拓者》/大和號粉絲俱樂部雜誌Vol.7（2020年5月出版）的主要賣點是對大和號SF研究人員和科學考證人員的採訪，這使得他們對該系列的工作有了新的認識。這裡是第一個訪談。第二個訪談（圓桌會議）可以在這頁的結尾找到。
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).
大和號的太空科學！
深入未知世界的SF研究工作
在製作科幻動畫中需要科學作為「後盾」，給工作人員在描繪世界觀和場景時提供準確的建議以及給機械概念帶來「說服力」。當然，這也是宇宙戰艦大和號系列的魅力之一，無需多言，它在很大程度上依賴科幻（和科學）專業人士的幫助。
他們的存在是眾所周知的，因為他們也被列在製作人員中，但很多人知道SF研究到底是什麼工作嗎？
這一次我們將利用一個難得的機會徹底聚焦宇宙戰艦大和號系列中的SF研究工作，這包括了目前正在處理《宇宙戰艦大和號2205：新的旅程》的小倉信也在內的科學專家的證言。我們將接近SF研究（和科學研究）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.
什麼是大和號的科幻研究？
小倉信也是大和號2202的概念研究員，目前負責正處於製作狀態的大和號2205的SF研究。他參與了包括經典科幻太空動漫《行星》（Planetes）在內的許多項目。即便是許多動漫迷來說，能了解科幻與科學研究的真正境界的機會也很少。在小倉先生的指導下，我們將通過2202與2205的例子來談談大和號的「科幻研究」與「科學研究」。
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.
小倉信也個人資料
概念研究者與設計師
生於1965年
自由職業者
他在動漫領域的代表作：
·《星球》Planetes，2003年
·《翠星之加爾剛蒂亞》Gargantia on the Verdurous Planet，2013年
·《樂園追放》Expelled from Paradise，2014年
·《宇宙戰艦大和號2202》 Yamato 2202，2017—2019年
·《機動戰士高達NT》Gundam NT，2018年
他在動畫視覺、原創藝術和概念設計方面經驗非常豐富。
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信也在科幻研究方面的一大特色。
最初我希望在科幻動畫與科幻電影行業中工作，因此我加入了一個名為小川建模的公司，並在1984年的《再見木星》為小松左京導演製作道具模型。這就是我進入這個行業的原因。碰巧我比別人更了解太空，這對我很有幫助，不久後我就開始從事科學考證工作。[註：《再見木星》的機械設計人員是和孝宮竹，他曾經參與過前兩個大和號動畫項目。]
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實與幻想之間的平衡。
我從2202起參與了大和號的SF研究，但目前大和號系列的基礎則是基於大和號2199所做的研究所建立的。所以可以說，我為2202製作組創造素材的工作是建立在（SF研究）和本田敏弘（科學考證）的基礎上的。
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.
我們在圓桌會議中談到了科幻研究與科學研究的區別，所以我現在就不深入討論了，我想說的是我的工作屬於科幻研究的範疇。同時我也為動畫和概念設計做原創藝術，在很多情況下，我可以在提出一個概念的時候呈現一個視覺。這可能與其他研究人員的觀點不同。
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.
我在這裡所介紹的一些材料是為了大和號2202腳本會議而製作的。當然，並不是我的文檔裡中所有建議性的概念都被使用了。事實上從表面上來看這個系列幾乎沒有任何東西被描繪出來。（笑）但科幻研究或科學研究人員的主要前提是指出在現代科幻小說中應該避免的誤解和矛盾，而不是過分強調，因為這樣會破壞動畫的樂趣。在科幻研究工作中，保持現實與幻想的平衡一直是一個值得關注的問題。
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.
當一艘加米拉斯風格的仙女座級戰列艦出現在宇宙戰艦大和號2202中時，「它是誰設計的？」成為了粉絲們的討論話題。事實上它就是在導演羽原信義的要求下由小倉先生設計出來的。
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科幻研究項目中具有象徵意義。它出現於故事的結尾。這就是「緣」的力量。福井晴敏問我「我們如何（用科學的思維）讓特蕾莎與大和號船員感情的聯合力量來消滅加特蘭蒂斯這一點成立？」為了回答這個問題，我提出了近乎神秘的「緣」這一概念，並努力將其與現代科幻太空小說聯繫起來。
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.」
根據理論物理學家麗莎·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船員在「真實維度」中結合起來。特蕾莎的「祈禱」和大和號船員團體的「感受」變成了某種類似能夠穿透唯獨的「統一信息理論」的東西。如果我們把這個概念簡化成一個熟悉的詞，你可以稱之為「緣」。這種「聯繫」正是「祈禱」和「感覺」的結合。
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，因此被採納。那是2202的核心，不是嗎？當我試圖在2202第六章的大和號座談會（2018年6月14日舉行）中解釋這個故事概念時，我想有些人會看到福井先生衝進來阻止我！（笑）實際上，我當時想說的是形成「核心」的「紐帶」。但我被制止了。（笑）那是我在2202裡最大的任務。
▲左邊是福井晴敏，中間是小倉信也，右邊是小林治。
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2205中，我們將比以前更注重對科幻方面的研究。
與宇宙戰艦大和號2199中的太空旅行相比，2202具有《再見了，大和號》的故事特點（譯者註：這裡指的是舊版的劇場版動畫《再見了愛的戰士》，2202的部分情節就是基於該劇場版重製的），很難將科學方面的星系，尤其是天文元素融入其中。（因為）這部重製動漫強調了奇幻色彩。當然，事情應該是這樣的。另一方面，人們的意見可能是「小倉沒有做過任何科幻研究！」，「不，我沒有逃學！」（笑）
因此對於目前正在製作的2205，我相比之前的工作更深入地進行科學研究。就我個人而言，我想把伊斯坎達爾和加米拉斯看作是行星。我期待看到這將如何反映在實際描繪裡。如果類地行星與它的恆星分離將會發生什麼？在神戶大學主攻行星學的谷原林教授曾就此發表過演講。
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）
對於一個科幻研究者來說，宇宙戰艦大和號作為太空科幻動畫的魅力之一就是每一部作品都是不同的。對我來說這就是「對太空的看法」。工作人員需要時不時的吸收最新的信息，比如1974年的時候負責（舊版）宇宙戰艦大和號SF研究的豐田有恆，負責宇宙戰艦大和號2199SF研究的鹿野司，他們組織動畫製作人員創建概念和視覺效果。當然，這也反映了當時觀眾對太空的看法，所以描述必然會發生變化，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，大和號也有世界冒險的一面，這是自1974年以來一直保持不變的。無論時代如何變遷，它的光輝永不動搖。不用說，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的探險的同時提高你的知識量。
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
（小倉信也的解釋）
這幅插圖是為了闡述特蕾莎主要存在於其中的「高維度」的科學解釋。它基於鹿野司在大和號2199中的處理的概念而提出。關於有多少維度，有各種各樣的觀點，但在這裡。我們只討論11個維度。因為卡諾先生提出了M理論（M=膜），它統一了超弦理論，即元素受「弦」振動的影響。我們看不到這些「多餘的元素」，它們與特蕾莎居住的「更高維度」很好地契合。額外維度是一個前沿的研究領域，但主流觀點是，額外維度處於蜷縮狀態，小於基本粒子。這個插圖展示了「壓縮」的狀態。插圖說明它的形狀類似卡拉比-丘流形——這是在大和號2199裡新見薰解釋波動炮原理時出現的一個關鍵詞。
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
（小倉信也的解釋）
這個插圖同樣基於鹿野司的概念。這裡的重點是宇宙飛船可以加速到超光速——這是被相對論所禁止的。換句話說，當大和號的速度超過光速時，它違反了上帝創造的物理定律。但有一個例外，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比光速還快的理論性矛盾，它就和周圍比光速還快的空間一起運動。這裡我準備了一點「不在場證明」來解釋它。即便它違反了一點因果關係，難道上帝不會對此予以寬恕嗎？
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
（小倉信也的解釋）
這些圖片是為了福井先生和劇本團隊繪製的，目的是分享這顆白色彗星的圖像和規模感，前視圖提取自原作品《再見了大和號》，大圖則顯示了白色彗星如何像宇宙飛船一樣向前移動。這是對它如何運行的一個考慮。假設白色彗星使用了一種「場促進」，這是一種通過將前面的空間向後移動而向前推進的機制。它的驅動系統由能量環組成，這些能量環從白色彗星的頂端向後通過周圍的高溫高壓氣體外層發射，因此外層氣體就變成了「波狀」。
翻譯到此結束。
以上內容轉自百度 宇宙戰艦大和號 貼吧，感謝網友PRAETORIAN10的翻譯。
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