{"id":26595,"date":"2019-04-21T23:08:13","date_gmt":"2019-04-22T06:08:13","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=26595"},"modified":"2019-08-23T16:31:29","modified_gmt":"2019-08-23T23:31:29","slug":"391a","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/391a\/","title":{"rendered":"Yamato 2202<\/em> Mecha Designer interview, February 2019"},"content":{"rendered":"

\"1905icon\"<\/p>\n

Published by Gigazine: in this lengthy discussion, Junichiro Tamamori gives his perspective on the mecha design of 2202<\/em> and the evolution of Yamato<\/em> in particular with new observations and theories. Also includes extensive artwork from the design phase.<\/p>\n

<\/div>\n

<\/p>\n

What is the secret of the smokestack, the third bridge, and the \u201cWave-Motion Barrier\u201d?<\/h2>\n

Published by Gigazine, February 25 2019. See the original article here<\/a>.<\/em><\/p>\n

Yamato 2202<\/em>, which has been shown in theaters since February 2017, concludes with Chapter 7, New Star Chapter<\/em>, on March 1, 2019. It is a sequel to Yamato 2199<\/em> (a remake of the original 1974 TV series), based on the film Farewell to Yamato<\/em> (August 1978) and the TV series Yamato 2<\/em> (October 1978). Much attention has been drawn to which ending it would reach.<\/p>\n

For the finale of 2202<\/em>, we had an opportunity to talk with Junichiro Tamamori, who was in charge of mechanical design for the Earth side on both 2199<\/em> and 2202<\/em>. We heard a lot about Yamato<\/em>, Andromeda<\/em>, the sister ship Ginga<\/em> (which appeared in Chapter 6, Regeneration Chapter<\/em>), and more. We also report on a Yamatalk Night even in which Mr. Tamamori appeared on stage.<\/p>\n

<\/p>\n

Participating in Yamato<\/em><\/h3>\n

Interviewer:<\/em><\/span> What was your first impression when you heard that you would be working on Space Battleship Yamato<\/em>?<\/p>\n

Tamamori:<\/em><\/span> For Yamato 2199<\/em>, I got a call from General Director Yutaka Izubuchi. That was at the planning stage in 2008, so it\u2019s been about ten years. By that time I\u2019d built up an acquaintance with Mr. Izubuchi through doujinshis (fanzines). I had published new illustrations of Yamato<\/em> in a doujinshi, so I had the feeling that \u201cI was waiting.\u201d<\/p>\n

Interviewer:<\/em><\/span> I think Yamato<\/em>\u2019s design is very strong, but what do you consider to be the core of 2199<\/em> and 2202<\/em>?<\/p>\n

Tamamori:<\/em><\/span> As I grow older and look back at the original content of Space BattleshipYamato<\/em> from 1974, I think it\u2019s very suitable for the time it was made. After Yamato<\/em> we passed through the age of Gundam<\/em> and Macross<\/em>, and it had to be recaptured anew. Also, the technology of animation has evolved since then, so I had to be conscious of production methods. I wanted to be able to express something we\u2019d never seen before.<\/p>\n

Interviewer:<\/em><\/span> Like what, specifically?<\/p>\n

Tamamori:<\/em><\/span> The staff at the time was very creative, and expressed the gentle curves of Yamato<\/em>\u2019s hull with lines that moved one by one. It\u2019s a great challenge to the spirit, but I don\u2019t think the same thing could be done now. Therefore, since it could only be done in CG, we aimed for a design that could take full advantage of light reflections and shadows. When you see it from a distance, some lines are automatically omitted. It\u2019s a unique method of CG that you only see the small details when it approaches.<\/p>\n

Interviewer:<\/em><\/span> You said, \u201cI was waiting,\u201d but what was your impression of the work called Space Battleship Yamato<\/em>?<\/p>\n

Tamamori:<\/em><\/span> When I was a child, I liked Mazinger Z<\/em> and Ultraman. Yamato<\/em> had a battleship instead of a hero character, so it was very fresh. When I was a second-grader I saw an episode somewhere in the middle and thought a flying rocket shaped like a battleship was great. It was also impressive that Gamilas had a monster-like weapon called a \u201cBalanodon.\u201d Yamato<\/em> was an adventure thing, not a war thing. They avoided fighting as much as possible, and sometimes fought to survive. In that way, \u201cspace adventure\u201d echoed throughout my childhood.<\/p>\n

2202<\/em> is a remake of Farewell<\/em> and Yamato 2<\/em>. The main subject is strategy and battles, and that\u2019s where the real thrill lies. After being forced to near-extinction, Earth has revived and built a fleet, and now it fights against the White Comet Empire.<\/p>\n

Interviewer:<\/em><\/span> The technology of the work changes with 2199<\/em> and 2202<\/em>. Are there places where the mechanical design changes, too?<\/p>\n

Tamamori:<\/em><\/span> I was in charge of refining the old work for the remake. That doesn\u2019t mean it\u2019s all new, it means the original designs are still wonderful and I think about how to use as much of them as possible. The ships that come out in 2202<\/em> are made with new technology, so I\u2019m conscious that they are a different generation of ships than Yukikaze<\/em> and Kirishima<\/em>, which was a remake of Okita\u2019s battleship.<\/p>\n

Interviewer:<\/em><\/span> In your interview in the Yamato 2199<\/em> Earth design book, you said, \u201cAssuming there are future developments, I thought about creating a Yamato<\/em> that would be provide a basis leading to that.\u201d In fact, 2202<\/em> was made after that. After 2199<\/em>, what was your impression when you heard about 2202<\/em>?<\/p>\n

Tamamori:<\/em><\/span> I thought, \u201cThis is Yamato<\/em>, it will happen.\u201d I had a feeling that if it was a hit, we could assume that there would be a next one. (Laughs) After that, I was careful not to disturb it.<\/p>\n

Interviewer:<\/em><\/span> Composer Akira Miyagawa, who was also on the 2199<\/em> staff, said that \u201c2199<\/em> was there first to consume all the sweetness of heaven.\u201d What was it like for you to be in charge of these two consecutive works?<\/p>\n

Tamamori:<\/em><\/span> My thought was, \u201cCan I tell a story that follows the previous work?\u201d However, Harutoshi Fukui\u2019s purpose was to formulate a concept to recreate it in accordance with the times. The number of new fans increased with 2199<\/em> and expanded the base, so I was conscious that the designs needed to expand widely to match a new sense of values.<\/p>\n

Interviewer:<\/em><\/span> Among the examples of anime revivals, I think Space Battleship Yamato<\/em> is a cool mecha anime. It will be depicted in CG if modern methods are used, but the original had lots of cheats and omissions since it was drawn by hand. Was there any trouble in that area?<\/p>\n

Tamamori:<\/em><\/span> Actually, what I kept in mind was, \u201cDon\u2019t make it too detailed.\u201d In the case of a CG model, if you crowd it by showing every single screw, it gets overloaded. By being aware that you should omit some things properly, you don\u2019t put in anything unnecessary. When there are fine details depicted on Yamato<\/em>, it\u2019s just a matter of course because those details were set in the original. I don\u2019t just put in fine details because I like it. (Laughs)<\/p>\n

Interviewer:<\/em><\/span> There is a change in Yamato<\/em>\u2019s shape from 2199<\/em> to 2202<\/em>.<\/p>\n

<\/p>\n

Tamamori:<\/em><\/span> Yamato<\/em> wasn\u2019t depicted consistently in the original works, and there were small changes in its appearance. It was depicted differently in Farewell<\/em> and Yamato 2<\/em>, and it was considerably changed later on in Be Forever<\/em> and Final Yamato<\/em>. Every fan has their own ideal shape, too. And there were also developments in model kits in addition to anime. It\u2019s very clear to those who are familiar with models, and that\u2019s why they say, \u201cThis is one is my Yamato<\/em>.\u201d So I can\u2019t just put it out in one form and say, \u201cOh, this is Yamato<\/em>.\u201d<\/p>\n

In the case of 2199<\/em>, it was good for the ship to have a sharp bow, as it did in the 1974 Yamato<\/em>. I made a hull that had a curved surface, as if it was made by human hands. In 2202<\/em>, it was based on the renovation that was done in Farewell<\/em> and Yamato 2<\/em>. I removed the flavor of the first work and gave the bow a vertical tilt. I changed the shape around the fairing and made it stronger.<\/p>\n


\nIn these explanatory drawings by Mr. Tamamori, you can see that various parts
\nhave been changed between the <\/em>2199 and <\/em>2202 versions.<\/em><\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> You were mainly in charge of mechanical design for the Earth fleet. There\u2019s a new concept called a \u201ctime fault,\u201d which is different from the previous work. Were there any parts that you consciously changed?<\/p>\n

Tamamori:<\/em><\/span> In the Earth fleet, I did the main battleship, Andromeda<\/em>, the escort ship and the patrol ship. At the time of design, the story was that they were \u201cautomatically made in a factory inside the time fault,\u201d but we didn\u2019t have a specific visual image yet. If it was an automated factory where everything is completely machine-made, I couldn\u2019t put in too much detail because it was organized differently, so that gave me trouble in various ways.<\/p>\n


\nDesign of the main battleship<\/em><\/p>\n

Tamamori:<\/em><\/span> If the ship crews were reduced it would save labor, but then would it be necessary to put a human-scale handrail on the deck where people stand? Ladders are usually retracted for storage and covered up, so we might not see them. When I realized that they would be stored that way on Andromeda<\/em>, I was conscious of the feeling that \u201cit has none of the warmth that people would create.\u201d<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> The escort ship and patrol ships turn up later than they did in the original work.<\/p>\n

Tamamori:<\/em><\/span> It wasn\u2019t up to me to decide when they turn up. I receive the design order when it is decided that something will appear. The first to get a role [in 2199<\/em>] was Kirishima<\/em>, which advanced from the Isokaze<\/em> and Yukikaze<\/em> classes. I received the order for other designs later.<\/p>\n

Interviewer:<\/em><\/span> I was surprised at the design of Ginga<\/em>, which appeared in Chapter 6. What was at the core of that design?<\/p>\n

Tamamori:<\/em><\/span> Ginga<\/em> is Yamato<\/em>\u2019s first sister ship, so I was able to predict the pros and cons. The origin of the design came from production development of the mid 1990s, an idea presented by Makoto Kobayashi at the time of Yamato Resurrection<\/em><\/a>. There was a moment where the previous production staff liked it. I personally thought a ship like Ginga<\/em> was suitable as Yamato<\/em>\u2019s sister ship, so I arranged it to match the worldview of 2202<\/em>.<\/p>\n


\nMakoto Kobayashi\u2019s original concept, named <\/em>Musashi, from the 1993 development period for <\/em>Resurrection.<\/p>\n

Ginga<\/em> is not like a Wave-Motion \u201cbattleship,\u201d it\u2019s more of an \u201cexperimental ship\u201d to explore things in space that are not understood. Since it\u2019s an \u201cexperimental ship,\u201d I sympathized with the concept of it not being a pure battleship. It\u2019s also not a mass-production Yamato<\/em> type. I thought I might be able to deepen the worldview.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> The observation dome gives the impression that it is similar to Yamato<\/em>, but not quite Yamato<\/em>.<\/p>\n

Tamamori:<\/em><\/span> The design goes in a new direction following Andromeda<\/em>, and the bow and sides have a classical sensibility. It was a challenge to adopt the flavor of the 19th and early 20th centuries into the image, so I organized it around the observation dome.<\/p>\n


\nThe upper structure of <\/em>Ginga.<\/p>\n


\nFinely-drawn detail in the design around the observation dome.<\/em><\/p>\n

Interviewer:<\/em><\/span> The fact that Ginga<\/em>\u2019s crew is all women comes out in Chapter 6. Did you hear about that at the design order stage?<\/p>\n

Tamamori:<\/em><\/span> I heard about it to some extent at the script stage. But the shape was arranged while taking into consideration how it would look in solid form when it became a model kit. I wasn\u2019t aware that they would all be women.<\/p>\n

<\/span><\/p>\n

Interviewer:<\/em><\/span> In other words, the emphasis was on the form and the detail parts.<\/p>\n

Tamamori:<\/em><\/span> That\u2019s right. Of course, I was conscious of the role and significance of the ship.<\/p>\n

Interviewer:<\/em><\/span> There seemed to be a color plan where the waterline position was different on Ginga<\/em>. You mentioned that you were involved with the design image through product development. Was this part of the plan?<\/p>\n

Tamamori:<\/em><\/span> The model kit seemed to move forward at the same time as the design work. If I came up with a draft where the waterline went between the first and second torpedo tubes, there wouldn\u2019t have been enough time [to change the model kit]. When I considered its overall position in the story and how it looks when it\u2019s compared to the other ships, like Yamato<\/em>, I still think there might be a sense of incompatibility. When you increase the windows on Ginga<\/em>\u2019s flanks, you get the feeling that it\u2019s not a battleship, don\u2019t you? The idea is that it should not feel like a \u201cweapon\u201d up to that point.<\/p>\n

I came up with a high-detail version and a normal version in my rough draft drawings. The position of just one line can give a different impression.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> Is the shape of Ginga<\/em>\u2019s hull the same as the 2199 Yamato<\/em>?<\/p>\n

Tamamori:<\/em><\/span> It\u2019s the 2202 Yamato<\/em>.<\/p>\n

Interviewer:<\/em><\/span> Along with the Ginga<\/em>, Andromeda<\/em> is new in 2202<\/em>.<\/p>\n

Tamamori:<\/em><\/span> My job was basically to refine the design without changing the impression. But I think some people feel \u201cit\u2019s exactly the same\u201d while others feel that \u201cit\u2019s completely different.\u201d One thing is that I arranged it to be expressed in 3D.<\/p>\n

Interviewer:<\/em><\/span> When doing modeling, it looks like a difficult ship to make in 3D.<\/p>\n

Tamamori:<\/em><\/span> I think the 3D would have been difficult if this was a normal anime. I want the 3D to be as easy as possible, and I want to hand it over in good order, so I made a simple 3D model myself and handed it in.<\/p>\n

Interviewer:<\/em><\/span> Regarding the design of Andromeda<\/em>\u2019s Wave-Motion Guns, I get the impression that they curve slightly toward the bottom.<\/p>\n

Tamamori:<\/em><\/span> In the original design, I interpreted it as \u201cperpendicular when viewed from the side.\u201d It\u2019s drawn that way in the anime and made that way in the model kit. However, in the design drawing it seems to be slanting toward the base. The Wave-Motion Guns seem to be slanted, too. This was a subjective image valued by Kazutaka Miyatake, who was in charge of the original design, and it emphasizes the force of an approaching ship. I think it\u2019s more dynamic because it looks like it\u2019s moving even when it\u2019s standing still. <\/p>\n

At the time, we couldn\u2019t review the visuals like we can now. I thought the design used on the model kit packaging was the one that stuck in everyone\u2019s head. Just as there is no one fixed image of Yamato<\/em>, it\u2019s hard to fix on one of Andromeda<\/em>, too.<\/p>\n

When I consulted with Director Habara, many people said the image with the slant was impressive, so we decided it was good to take Andromeda<\/em> in that direction. Mr. Miyatake\u2019s drawings were clearly made for animators, and at the same time there were characteristics that were rearranged and changed shape to be easy to understand. It was an explanatory drawing, not a drawing to be made three-dimensional.<\/p>\n

It would be dangerous to make a solid just based on that drawing, because there was a difference in the line thickness of the Wave Gun part when seen from the top view and the bottom view. From this, I believe that Mr. Miyatake intended there to be a difference in inclination. So I slanted it a little. I actually met with Miyatake and told him what I was thinking about, and when I got to that spot, he reflected, \u201cIndeed.\u201d<\/p>\n


\nAndromeda materials drawn by Mr. Tamamori. The shapes of the Wave-Motion Gun and the bulge are set in detail.<\/em><\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> Yamato 2202<\/em> finally reaches its conclusion in Chapter 7 on March 1, 2019. How do you feel about arriving here?<\/p>\n

Tamamori:<\/em><\/span> It feels like an instant. It\u2019s about ten years since I started on 2199<\/em>, and it seems like a very long time when I realize that I\u2019ve been doing it since before the Great Tohoku Earthquake (March, 2011). Along the way I participated in other works and worked on the 2199<\/em> movie, Ark of the Stars. 2202<\/em> alone took about three years, including development.<\/p>\n

Interviewer:<\/em><\/span> How many designs did you do for 2202<\/em>?<\/p>\n

Tamamori:<\/em><\/span> Not very many. Yamato<\/em>, Andromeda<\/em>, the main battleship, the patrol ship, the escort ship, the Cosmo Tiger II, and Ginga<\/em>. And a little later, the damaged Andromeda<\/em>. And I did a few detail concepts occasionally.<\/p>\n

Interviewer:<\/em><\/span> Do you spend more time with your hands on a design or does it take longer with your head?<\/p>\n

Tamamori:<\/em><\/span> Hmm\u2026what about that? I considered Farewell<\/em> and Yamato 2<\/em> beforehand, and that became the basis. Basically, I stayed within that range. If it was something like Be Forever Yamato<\/em>, I would need more time to use my head.<\/p>\n

Interviewer:<\/em><\/span> You drew the Yamato<\/em> of 2203 for your Yamato Mechanics<\/em> website, which must have been useful. With 2199<\/em>, in order to think about the technology of the world, you began with Kirishima<\/em> (also called the Okita ship) and Yukikaze<\/em>. What was your approach when you began to draw on 2202<\/em>?<\/p>\n

Tamamori:<\/em><\/span> Andromeda<\/em> was first, because that was going to be the first model kit.<\/p>\n

Interviewer:<\/em><\/span> Yamato<\/em> was the main ship, but it wasn\u2019t the first.<\/p>\n

Tamamori:<\/em><\/span> Yamato<\/em> had a prototype, but I had nothing for Andromeda<\/em>. Then I moved on to the Cosmo Tiger II and the main battleship.<\/p>\n

Interviewer:<\/em><\/span> Earlier, you said the main premise was that the designs could be properly reproduced as CG models. Was there any case with a mecha design where that couldn\u2019t happen?<\/p>\n

Tamamori:<\/em><\/span> In the present day, I think there\u2019s a lot of robot anime with the premise of 3D collaboration. However, when a creator\u2019s concepts are important and you emphasize the momentum of that it can\u2019t always be bound to three dimensions, and there are cases where 3D models can\u2019t be done well. What\u2019s the best solution there? I think it\u2019s a field that needs to be explored and researched in the future.<\/p>\n

Interviewer:<\/em><\/span> Sublimation did the modeling for 2202<\/em>. What was your impression when you saw the finished models?<\/p>\n

Tamamori:<\/em><\/span> I thought it was good at first glance. There may have been a lot of places where they struggled with parts I didn\u2019t see. Since there were 2199<\/em> model kits, I thought it would be easy be conscious of the differences, but it was also good to have the modelers\u2019 skill on parts like the bow that stands upright.<\/p>\n

Interviewer:<\/em><\/span> When Sublimation showed me the Cosmo Tiger II \u201cVersion K,\u201d I laughed in surprise.<\/p>\n

Tamamori:<\/em><\/span> That was an interesting animation challenge, wasn\u2019t it? They succeeded in changing the form with exquisite timing when it passes directly in front of the camera in flight. Some shots used the Version K, others did not. I think the places where the accent was needed worked well. I was conscious of the \u201cKanada pass\u201d in the design this time. A subtle angle was attached to Mr. Miyatake\u2019s design drawing. Even if you do nothing to it, you can still get close to a form like the Kanada Pass. I think it was successful because it was technically possible to do a deform. Mr. Kanada\u2019s movement is compatible with Mr. Miyatake\u2019s design.<\/p>\n

Interviewer:<\/em><\/span> Did the Kanada Pass gradually become something like picking up the lines for Andromeda<\/em>?<\/p>\n

Tamamori:<\/em><\/span> Mr. Miyatake\u2019s drawing is a combination of simple building blocks with the nose, the wings, the body, and a protrusion in the back. It\u2019s a distinctive design that takes fluid dynamics into consideration at subtle angles. Since the angle of attachment of the wings is slightly different in the drawing, Yoshinori Kanada was able to make the movement he wanted. In other words, I think that essence was already in the design.<\/p>\n

Interviewer:<\/em><\/span> The animators were able to make good use of that form simply because it was an excellent drawing.<\/p>\n

Tamamori:<\/em><\/span> That\u2019s right. Fluid dynamics were also taken into consideration with Yamato<\/em>, and narrowing was done from front to back. The discovery was that it would reduce air resistance. The same is true for the Cosmo Tiger II. There\u2019s a commitment to technical engineering, so we picked up on it.<\/p>\n


\nDesign for the 3-seat Cosmo Tiger II (torpedo bomber)<\/em><\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> In a discussion about the novel Blue Brigade<\/em><\/a>, Producer Gunji of Production IG said about your designs, \u201cThey\u2019re well thought out not just in their appearance, but also in the function and necessity of the design.\u201d Were there also parts of Yamato<\/em> where necessity was considered?<\/p>\n

<\/p>\n

Tamamori:<\/em><\/span> Blue Brigade<\/em> was original, so I could do it freely. Since Yamato<\/em> has the original design, there are a lot of constraints. There wasn\u2019t much I could add on my own. However, I thought about interpretations in various ways. For example, \u201cWhy is there a smokestack?\u201d<\/p>\n

Interviewer:<\/em><\/span> Things like that! (Laughs)<\/p>\n

Tamamori:<\/em><\/span> A \u201cWave Barrier\u201d was developed for Yamato<\/em>, which is like an invisible electromagnetic field that defends against beam weapons and solid rounds. Just as Earth\u2019s magnetic field formed to link the north pole to the south pole, couldn\u2019t Yamato<\/em>\u2019s electromagnetic field for the Wave Barrier appear to link the smokestack to the third bridge?<\/p>\n

Interviewer:<\/em><\/span> Whoah!!<\/p>\n

Tamamori:<\/em><\/span> The magnetic field would have a weak point if it\u2019s attacked from above. On the other hand, the area around the smokestack and the third bridge is very strong. The captain\u2019s dome also seems to be exposed, but it is quite strongly protected.<\/p>\n

Interviewer:<\/em><\/span> I see\u2026of course. The space battleship Yamato<\/em> is different from the actual battleship Yamato<\/em>, since its fuel is not oil. So there would be no need for a smokestack.<\/p>\n

Tamamori:<\/em><\/span> Well, it does include missiles. (Laughs) Also, the energy conduction pipe for firing the Wave-Motion Gun runs throughout the ship, so there would something like valves to eject gas out if something happens. Maybe it zig-zags around the base of the smokestack. There are no antennae on the flanks of the fleet ships that gather around a smokestack, so this is probably due to the strength of the Wave Barrier. I think about things like that.<\/p>\n

Interviewer:<\/em><\/span> Even if it\u2019s not an official concept, this gives meaning to the third bridge being below the smokestack around the hull. Your explanation is very convincing.<\/p>\n

<\/p>\n

Tamamori:<\/em><\/span> Yes, the third bridge is the strongest. Maybe\u2026 (Laughs) Rather than saying, \u201cThere\u2019s a top and bottom because it\u2019s based on the battleship Yamato<\/em>,\u201d I think this is the justification for its form. The shape is also the essence of weapons, \u201cshield\u201d and \u201cspear.\u201d The bottom is a shield and the top is a spear. The top is materially weaker, so it is protected by a Wave Barrier. The bottom is materially stronger, so it was flipped upright on Pluto [in Yamato 2199<\/em>].<\/p>\n

Interviewer:<\/em><\/span> When I previously interviewed mecha designer Takeshi Takakura about your work, he said, \u201cIf you\u2019re going to get bombed, a mecha designer is a must.\u201d The fate of Earth rests on Yamato<\/em>, so it would be a problem if it sinks. Does that mean he wants to break the products based on your designs?<\/p>\n

Tamamori:<\/em><\/span> That\u2019s Mr. Takakura\u2019s hobby. (Laughs) What he means is, \u201cIf you have it, use it to your heart\u2019s content.\u201d I totally agree. The saddest thing is to leave something unused\u2026so blow it up. (Laughs) Wouldn\u2019t it be great to see a cross section? So if you were to say, \u201cThis part will get destroyed, so draw some pipes here\u201d or \u201cDraw a reinforcement structure,\u201d I\u2019d say, \u201cSure, I\u2019ll draw that.\u201d<\/p>\n

Interviewer:<\/em><\/span> That\u2019s what made Andromeda<\/em> so awesome in Chapter 6.<\/p>\n

<\/p>\n

Tamamori:<\/em><\/span> Everyone was happy to create that CG. (Laughs) My intention was, \u201cYou can build it up to here\u201d when I drew the fine details, but they went even finer than that. I don\u2019t usually draw that intricately. (Laughs)<\/p>\n

Interviewer:<\/em><\/span> Andromeda<\/em> looked truly cool in Chapter 6. And the rocket anchor played an active part, too. Sublimation showed a lot of the material from your designs. If your thinking was, \u201cThis is set up in various ways,\u201d that was a major achievement in Chapter 6.<\/p>\n

Tamamori:<\/em><\/span> I didn\u2019t give any instructions on how to use it, but I was convinced when I saw the visuals. \u201cOh, it can be used that way.\u201d<\/p>\n

Interviewer:<\/em><\/span> Thank you for all your stories today.<\/p>\n

\n
\n

<\/p>\n

Tamamori goes on stage: Second Yamatalk Night of Love report<\/h2>\n

During the screening of Chapter 6 Regeneration Chapter<\/em>, Mr. Tamamori appeared on stage as a guest at the Yamatalk Night of Love on Thursday, November 22, 2018. He talked about his designs and showed specific plan drawings. A report is published here.<\/p>\n

The event featured Mr. Tamamori, Director Nobuyoshi Habara, and Series Writer Harutoshi Fukui. Anime writer Osamu Kobayashi served as the moderator.<\/p>\n

Mr. Tamamori was born and raised in Okinawa. Space Battleship Yamato<\/em> was broadcast there one year after its original run, and he watched it as a second-grader. His first viewing was the floating continent episode, featuring a \u201cflying rocket that looked like a battleship,\u201d and he was shocked later by the monster-like appearance of the Gamilas\u2019 \u201cBalanodon.\u201d<\/p>\n

Time moved on from there, and he participated as the mechanical designer for Yamato 2199<\/em>. For 2202<\/em>, he was tasked with refining Andromeda<\/em>, a design that surprised him when he first saw it in a book for Farewell to Yamato<\/em>.<\/p>\n

Mr. Tamamori specifically explained how the figure of Yamato<\/em> changed from 2199<\/em> to 2202<\/em> while showing old and new images at the theater. Osamu Kobayashi drew attention to a note on Yamato<\/em>\u2019s cross section that read \u201cpear-shaped.\u201d In response, Tamamori explained that since the original Yamato<\/em> was entirely drawn by hand, some parts were emphasized to bring more impact to a scene. Thus, to the viewers, there are multiple forms that feel like \u201cThis is the shape of Yamato<\/em>\u201d and many of them had a pear-shaped hull.<\/p>\n

Additionally, one of the points that changed from 2199<\/em> to 2202<\/em> was the shape of the fairing on the bow. It was revealed that Mr. Habara\u2019s design order said to \u201cPlease make it into the shape from that time [1978].\u201d<\/p>\n

A detailed design was shown from Episode 5, the \u201cAsteroid Ring System\u201d that uses asteroids for defense. When Mr. Tamamori did the design, he thought \u201cThis is how the system is supposed to work,\u201d but it wasn\u2019t formalized. He had Mr. Kobayashi convinced, but then he joked, \u201cI was just kidding.\u201d<\/p>\n

It also came out that Andromeda<\/em> had \u201cretractable beam guns\u201d in Episode 5 because it seemed that the ship had almost no armaments other than the Wave-Motion Gun. Tamamori explained that the design went that way because \u201cI wanted it to look intimidating from the front.\u201d<\/p>\n

<\/p>\n

Besides Yamato<\/em> and Andromeda<\/em>, Mr. Tamamori was in charge of the Earth fleet\u2019s Dreadnought class, patrol ship, and escort ship. The Dreadnought class was previously called the \u201cmain battleship\u201d and did not have a specific name.<\/p>\n

<\/p>\n

One point in the design was a Wave-Motion Gun in the bow with a divider in the center. Tamamori said that there was a debate among fans saying, \u201cWouldn\u2019t that divider be melted by the energy of the Wave Gun?\u201d He explained that the energy is emitted to the right and left when firing a Dispersion Wave-Motion Gun. The energy would merge after passing the divider to become a single-beam Wave-Motion Gun without melting it. This cleared up the problem.<\/p>\n

<\/p>\n

Speaking of the \u201cWave-Motion Gun problem\u201d from the days of Farewell to Yamato<\/em>, what about the small beam cannons on the patrol ship and escort ship? There seemed to be a debate about whether they were small Wave-Motion Guns. On this point, Mr. Tamamori wondered, \u201cCould a beam gun fire wave particles?\u201d and he coined the term \u201cWave-Motion Squirt Guns.\u201d<\/p>\n

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