{"id":39332,"date":"2025-01-09T14:45:20","date_gmt":"2025-01-09T22:45:20","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=39332"},"modified":"2025-01-14T22:26:34","modified_gmt":"2025-01-15T06:26:34","slug":"023b","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/023b\/","title":{"rendered":"3199<\/em> Mecha designer interview, November 2024"},"content":{"rendered":"

\"2501icon\"<\/p>\n

From the pages of the REBEL 3199<\/em> Chapter 2 program book: Junichiro Tamamori discusses the evolution of Yamato<\/em>‘s design into the realm of a Be Forever<\/em> remake, along with the genesis of the Cosmo Hound based on its earliest development in 1980.<\/p>\n

<\/div>\n

<\/p>\n

From the pages of the REBEL 3199<\/em> Chapter 2 program book: Junichiro Tamamori discusses the evolution of Yamato<\/em>‘s design into the realm of a Be Forever<\/em> remake, along with the genesis of the Cosmo Hound based on its earliest development in 1980.<\/p>\n

Translated by Anton Mei Brandt<\/em><\/p>\n

<\/p>\n

Those Who Challenge 3199<\/em><\/h3>\n

The main goal was to create the (Yamato<\/em> mecha) design as the \u2018final form\u2019 of the Yamato<\/em> remake<\/h3>\n

Junichiro Tamamori<\/h2>\n

Mechanical Designer<\/p>\n

Profile:<\/em> Born in Okinawa Prefecture. After graduating from Okinawa Prefectural University of Fine Arts and Crafts, he joined Carrozzeria (an automobile body design studio). He worked as a design assistant and then became a professional designer. Later on, he went freelance and started participating in anime and visual works as a mecha designer and art designer. Some of his notable works include Yamato 2199<\/em> (2012), Legend of the Galactic Heroes Die Neue These: Seiran<\/em> (2019), Eureka Seven: Hi Evolution<\/em> (2021), Mobile Suit Gundam: the Witch from Mercury<\/em> (2022), and Time Patrol Bon<\/em> (2024).<\/span><\/p>\n

Interviewer:<\/em><\/span> First, could you please tell us about the flow leading up to this work, starting from Yamato 2205<\/em>?<\/p>\n

Tamamori:<\/em><\/span> After Yamato 2202<\/em> there was a short pause. From there, the planning for both the compilation film Age of Yamato<\/em> and 2205<\/em> began at almost the same time. [Novelist] Yuka Minakawa joined after the compilation film, so it feels like a new team. Starting with 3199<\/em>, Fukui has been elevated to the role of general director. Initially, he said, “Since I don’t have much power myself, I want everyone’s help.” <\/p>\n

In meetings, if anyone has their own opinions or concerns, Hideki Oka also clearly states, “That’s not interesting,” and Fukui humbly considers, “Is that so?” Fukui plays a central role as a producer, and we support each other firmly in our respective fields, which has led to the current good working environment. In the meetings, I feel that Shoji Nishizaki doesn’t impose restrictions and trusts us by saying, “Utilize your talents individually and work hard to create something interesting.”<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> So, can we assume that your role remains the same as before, focusing on Earth-side mecha?<\/p>\n

Tamamori:<\/em><\/span> Basically, there is a lot of design work on the Earth side, and it’s difficult for one person to handle everything alone, including checking theater pamphlets and merchandise-related matters. That’s why this time I have asked several experienced individuals who have assisted with art and set design in the past to take charge of mecha-related items and art concepts. From 2205<\/em> onward, it’s also a story about young people developing themselves. It’s important for us creators to nurture them; otherwise, there won’t be any young people who know about Yamato<\/em> anymore. Therefore, I created a flow where young people draw designs while I supervise.<\/p>\n

Interviewer:<\/em><\/span> The design of Yamato<\/em> itself went through its third refurbishment\/renovation in the remake series.<\/p>\n

Tamamori:<\/em><\/span> In 2199<\/em>, it was the redesign of the first work from 74 years ago. Then from 2202<\/em> onward, it was refined within the remake series. To explain more specifically, each hand-drawn version of Yamato<\/em> had different shape images corresponding to each original piece of artwork during that era. As the Earth side learns techniques from various alien civilizations throughout each work’s progression period, Yamato<\/em> itself has been evolving technologically little by little. <\/p>\n

<\/p>\n

For example, before the ship departed to the final battle with Gatlantis, or before it departed to rescue Yuki and Kodai from Teresa\u2019s higher-dimensional space, Yamato<\/em> went into dock and underwent modifications even in-series. That was the biggest reason. Even in Be Forever Yamato<\/em>, there is an impression that the world itself was renewed. So I thought it would be natural for Yamato<\/em> to undergo modification and change based on those circumstances.<\/p>\n

Interviewer:<\/em><\/span> What were the specific instructions from General Director Fukui?<\/p>\n

Tamamori:<\/em><\/span> Fukui-san said he wanted to make the ship the definitive version of the remake Yamato<\/em>. I also had a similar intention, so my main focus was on creating a design that can be considered as the “final form” of the remake Yamato<\/em>. Specifically, there was an instruction to slightly return the main nozzle to how it looked in 2199<\/em>. In 2202<\/em>, we consciously emphasized the backward-facing Yamato<\/em> depicted in Farewell to Yamato<\/em> as part of its main visual, so we made the nozzle diameter slightly larger. <\/p>\n

<\/p>\n

This time, we’ve returned it a bit closer to how it was during 2199<\/em>. It’s now been several years since 2199<\/em> began airing, and even children who were elementary school students at that time are now university students or working adults. It’s also a period where we feel a response from new fans. So by making minor adjustments while considering both loyal fans and new fans, I believe we’ve established a good balance.<\/p>\n

Interviewer:<\/em><\/span> I was surprised when Yamato<\/em>\u2019s Cosmo Hound storage compartment appeared in 2205<\/em>.<\/p>\n

Tamamori:<\/em><\/span> Actually, I had already considered making it possible for it to be stored back during 2199<\/em>. The drums in the second storage bay can hold two fighter planes vertically with a width of about 40 meters. If you fold up Cosmo Hound’s wings and look at them from the front, they would fit like triangular origami shapes. That’s what I thought. Also, if you remember the original Yamato<\/em> or 2199<\/em>, there are places on the ship’s sides where hatches open. For example, scenes like loading up the Cosmo Cleaner D on Iscandar or when the gangway is extended. I considered attaching large patches to indicate those areas and making sure the hatch fits properly.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> I was truly surprised to see that the Cosmo Hound really fits inside based on your concept drawings.<\/p>\n

Tamamori:<\/em><\/span> However, there is still a regret because there’s so much Earth-side mecha work that we couldn’t dive into precise interior design of the storage bay. It ended up being a reactive response since storyboards were finalized without any specific settings. We hadn’t used a cylindrical-type storage bay since 2199<\/em>, so there were many mysteries surrounding it. <\/p>\n

I even went from Okinawa directly to the Tokyo studio to have discussions with CG director Uechi-san and exchange opinions. We measured 3D models and learned how they were handled and moved by staff at that time. It’s been more than 10 years since we created its structure, but due to budget and schedule constraints, we haven’t been able to finalize all the details yet. If there is an opportunity in the future where we can thoroughly examine and verify the structure of the storage bay, similar to supervising a large-scale plastic model kit, I would like to take on that challenge.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> In 3199<\/em>, Yamato<\/em> received participation medals on its hull, which has also been redesigned.<\/p>\n

Tamamori:<\/em><\/span> The three lines on the main guns represent participation medals awarded for the past three battles. It’s not like one more line will be added with each battle in the future. Even if there’s a remake of Final Yamato<\/em>, it won’t increase to four lines. We thought it would be better to keep it as it is. Similar to Be Forever<\/em>. <\/p>\n

Fukui-san also has fond memories of marks he saw when he was a child, and he mentioned that he wanted a solid impact on the side anchors. However, since there are Cosmo Hound hatches there, we couldn’t make them too large because they would overlap with the paint separation line from the bottom color of the vessel and wouldn’t look good when waves hit during landing. There were negotiations about size-related issues, but ultimately we found a solution by slightly moving them away from the waterline.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> The relief shape of the bow decoration is a prominent feature this time.<\/p>\n

Tamamori:<\/em><\/span> That design is inspired by school caps. It’s like having a three-dimensional school emblem in the center of a military cap. Actually, even in 2199<\/em>, we had allocated space for adding marks in that area. However, due to dividing lines at that location, adjustments were necessary for their actual inclusion. When the experimental Wave-Motion ship Ginga<\/em> had an anchor mark on its bow during 2202<\/em> as part of its formative visual style, differentiation was also desired.<\/p>\n

Interviewer:<\/em><\/span> The debut of Wave-Motion Cartridge shells happened quickly.<\/p>\n

Tamamori:<\/em><\/span> Regarding everything from firing Wave-Motion Cartridge shells until Goruba\u2019s destruction, Fukui-san had a clear image in mind. Minakawa-san and Oka-san further developed the details, and I created design drafts based on their ideas. Minakawa-san summarized the technical details. <\/p>\n

Also, speaking of Yamato<\/em>‘s equipment, there is the Omni-directional Radar Room. It has been set below the second bridge since the original series, but since the size of celestial bodies needed to be reduced, it gave me an image similar to recent VR technology where goggles are worn and any point can be enlarged. So I’ve created rough designs while considering that possibility.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> Next, please tell us about the Cosmo Hound, which continues to play a role since 2205<\/em>.<\/p>\n

Tamamori:<\/em><\/span> In one of the Roman Albums and some other books, there are preliminary designs of Cosmo Hound drawn by Mr. Katsumi Itabashi that I really like. Initially, they were not delta-winged but had thin elongated bodies resembling dragonflies, which looked cool. However, at that time space shuttles being developed in the U.S. started gaining acceptance as “the new shape of spacecraft.” That influence might have affected it too because once its final design was decided upon, later iterations featured delta wings. <\/p>\n

At the time he began focusing on mecha design during his tenure as an assistant under Leiji Matsumoto’s supervision, Itabashi-san’s unique charm and originality was evident in those rough drafts. So this time we also wanted to reproduce those rough designs and made it possible for the delta wings to be detached.<\/p>\n

Interviewer:<\/em><\/span> So you combined elements from both the preliminary and final drafts.<\/p>\n

Tamamori:<\/em><\/span> Taking charge of works within the context of remakes means having a sense of mission to be as faithful as possible to the originals while also understanding our duty to continue praising great work done by past staff. By comprehensively judging how mecha looks visually and functionally, if we can reintroduce them with new perspectives and values…that’s what I always consider.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> Regarding the Cosmo Hound, what were the instructions given by General Director Fukui?<\/p>\n

Tamamori:<\/em><\/span> Fukui-san requested that the nose windows not resemble a B-29 bomber. Since he was born in an area of downtown Tokyo heavily damaged during the Tokyo air raids [in World War II], he has special feelings about it. The original design had elements reminiscent of a bomber, so while avoiding that association, we created distinctive window shapes.<\/p>\n

Interviewer:<\/em><\/span> This time, it not only serves as cargo types but even as the Earth president’s exclusive aircraft; one wouldn’t have imagined that.<\/p>\n

<\/p>\n

Tamamori:<\/em><\/span> In cases where we wanted a medium-sized transport plane different from fighter type ships, we considered a multitude of variations to create a standard form around the 40-meter class. When I saw the completed Chapter 1 (of 3199<\/em>) and noticed Type-5 Medium Transport Aircraft lined up at night airports, I felt the fantastic atmosphere captured there. I sensed that the overall worldview was well expressed and felt the strength of the studio.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> By the way, could you share your thoughts on Be Forever Yamato<\/em>?<\/p>\n

Tamamori:<\/em><\/span> It was actually Be Forever<\/em> that I first watched in theaters using my own pocket money. The impression left on me was how beautiful and visually stunning it was; however, honestly speaking, I don’t remember if it was screened in “Warp Dimension” compatible cinemas or not. <\/p>\n

I bought visual books and read them repeatedly while reminiscing about the movie. Also, I watched The New Voyage,<\/em> which aired before that in real-time. Back then when we recorded TV audio on cassette tapes, I recall a specific moment where my own mother\u2019s voice was recorded, saying “It’s time for dinner!” (Laughs) I even remember drawing caricatures of Alphon and Mori Yuki.<\/p>\n

Interviewer:<\/em><\/span> So, you drew character sketches as well.<\/p>\n

Tamamori:<\/em><\/span> When I was a child, I primarily drew characters as opposed to mecha. Since I had the poster for Be Forever,<\/em> I hung it in my study room, and while thinking “Sasha is also nice; she’s beautiful,” I would do imitation drawings.<\/p>\n

<\/p>\n

Interviewer:<\/em><\/span> How did you perceive mecha during that time?<\/p>\n

Tamamori:<\/em><\/span> I particularly liked the Hyperon Bomb. Before entering junior high during spring break, watching Be Forever<\/em> moved me deeply. Immediately after starting a new semester, even before classes began, I already drew doujinshi about the Hyperon Bomb. It started with passing by Saturn, then gradually it approached Jupiter, Mars\u2026 until finally coming close and landing while destroying Tokyo Tower. That’s what I depicted. The moment its legs sank into the ground like gigantic drills was my favorite part.<\/p>\n

Interviewer:<\/em><\/span> Now then, could you please tell us once again about the highlights of Chapter 2 from your perspective?<\/p>\n

Tamamori:<\/em><\/span> When considering the key visual for Chapter 2, where Alphon embraces a woman with blonde hair who could be Yuki, while Kodai stands in front of them as if saying “My Yuki\u2026” \u30fc when considering the situation where Yuki awakens and Alphon is there too if they were to meet directly; it feels quite exciting. (Laughs) <\/p>\n

So personally speaking, that kind of dramatic element is something to look forward to throughout 3199<\/em>. Of course, there are various mecha-related aspects there, too. The new Yamato<\/em> will finally make its appearance, and we can look forward to seeing how Kodai operates the Cosmo Tiger II going forward.<\/p>\n

<\/p>\n

New Yamato<\/em> & Cosmo Hound<\/h3>\n

Junichiro Tamamori Design Works<\/h2>\n

Let’s introduce the design work surrounding the new Yamato<\/em>, which appeared in Chapter 2, and the Cosmo Hound that continues to play a role from 2205<\/em>, including designs created during the 2205<\/em> period.<\/p>\n

Space Battleship Yamato<\/em>
\nThird Refit: Participation Medal Commemorative Paint for Ceremony<\/h3>\n

The third refit is set to have taken place during 2205<\/em>, and the basic form of New Yamato<\/em> follows the design from 2205<\/em>. Significant changes occurred in its appearance. This was proposed by Mr. Tamamori as a commemorative paint following the awarding of participation medals. In particular, since the compilation film Age of Yamato<\/em> and onward (including 2205<\/em>), Mr. Tamamori not only provided designs but also offered various ideas. Text included in sketches indicates proposals regarding challenges and questions. These proposals were examined among main staff led by General Director Fukui and ultimately summarized by Yuka Minagawa, who handled literary settings management.<\/p>\n

<\/p>\n

3199 Yamato<\/em><\/h2>\n

Participation medals: Anchor mark, three lines (triple lines)
\nAdded to Wave-Motion Gun upper part, both sides, and second main gun turret top surface<\/p>\n

Exploring suitable anthropomorphism degrees. Medals awarded for participating in three major battles as a worthy recognition. <\/p>\n

Should medals be awarded to ships in anime?<\/em><\/p>\n

In reality, currently operating ships also receive medals. They are displayed discreetly next to the bridge of US Navy ships. This time, both ship and crew receive participation medals. There exist official awards with ribbons and medals; however, Yamato<\/em> expresses them through commemorative paint.<\/p>\n

<\/p>\n

The Anchor Mark (L to R)<\/em><\/p>\n

-Existing Earth Federation symbol
\n–Yamato<\/em> mark (Anchor mark) for commemorative paint and ceremony
\n-Participation medal (award commemorative paint)<\/p>\n

<\/p>\n

Yamato Mark<\/em>
\nExamples of Yamato<\/em> mark deployment on various products in both the fictional world and real-life merchandise. Concept: “A special medal of honor for participation in three battles.”<\/p>\n

Left to Right:<\/em>
\n-Deployment for commemorative goods
\n-Special medals applicable to both military personnel and civilians
\n-Ribbon worn on chest (partial insignia)
\n-Ship marking abbreviated emblem<\/p>\n

Notes<\/em><\/p>\n

Why is it that they are receiving medals at this time?
\nProposal: Decommissioning with these \u2192 Storage within reserve fleet or various tests
\nFlagship replacement within Earth Fleet; candidates nominated from each state.
\ne.g., Arizona, Prince of Wales<\/em>\u2026
\nBattle names connected to sunken ships on the Japanese side during the previous war.<\/p>\n

Will they be increased after the fourth time?
\nSince it’s a commemorative paint, it won’t increase to four lines.
\n“The reputation of the ceremonial commemorative paint has been established.”
\nOr “Since it returned to regular fleet service, they were removed.”<\/p>\n

<\/p>\n

Comments<\/h3>\n

Anchor Mark:<\/em>
\nIn an official deluxe book published when Be Forever Yamato<\/em>” was released (by Office Academy), various designs were introduced as Yamato<\/em> marks, with rocket anchors or anchors with three holes being predominant. Considering that those designs were created based on Leiji Matsumoto’s worldview during the first work in 1974, it seemed that there was no other option as Yamato<\/em>‘s symbol. Therefore, minor adjustments were made to ensure they could be expanded into badges or other items related to awards.<\/p>\n

Medal:<\/em>
\nI contributed initial ideas when considering marking options related to Yamato<\/em> participation medals. It was changed from “medals” to “awards” to avoid clashes with “Cosmo Medals” and actual award systems. It aimed for a design with high practicality, suitable as a gift saying “Good job” to Yamato<\/em> fans who have followed the series for many years and usable at offline events. (Tamamori)<\/p>\n

\n
\n

Yamato<\/em> (2199 to 2202)<\/h3>\n

Adjustments were made by Mr. Tamamori when transitioning from work on 2199<\/em> to 2202<\/em>. The bulges were emphasized, increasing their width; also, the main engine nozzle became larger.<\/p>\n

<\/p>\n

Red lines represent Yamato<\/em> from 2199<\/em>, while black lines represent it in its 2202<\/em> form. Additionally, a fourth bridge was added (above the rear gun turret).<\/p>\n

<\/p>\n

Front and rear views clearly show that the main engine nozzle has become larger.<\/p>\n

<\/p>\n

2205 Yamato<\/em><\/h3>\n

Instructions regarding changes made during the production of 2205<\/em>. Changes were made with the intention of faithfully representing the essence of Yamato<\/em> in the original series. Major changes include adjustments to bow fairing structure and Wave-Motion Gun, as well as changes in main and auxiliary nozzle shapes. Although not mentioned or used explicitly in animation, side hatches were added to this version.<\/p>\n

Changes in 2205<\/em> Version:<\/p>\n

Bow tip
\nWave-Motion Gun shape
\nFairing structures on sides of bow
\nMain nozzle shape modification
\nMain nozzle stabilizers (vertical and horizontal stabilizers)
\nRear facade shape corresponding to main nozzles
\nRear side hatches
\nFirst and second bridge window frames
\nSide surface shapes of main gun turrets and secondary gun turrets
\nEdge treatment on upper edge of central hull<\/p>\n

<\/br><\/p>\n

<\/p>\n

<\/p>\n

Details of changes<\/h3>\n

Continuing on, details of the changes made in 2205<\/em>. A space for an anchor mark has been secured above the bow Wave-Motion Gun muzzle. The main and secondary guns have been increased in volume by adding additional armor on both sides. Changes have also been noted in the adjustment of the main nozzle, the window frames of the bridge, and the treatment of the ship’s sides.<\/p>\n

<\/p>\n

All-weather radar room rough<\/h3>\n

The new equipment “All-weather radar room” from Be Forever Yamato<\/em> also appears in 3199<\/em>. As a result of the need for a size that could fit inside the bridge structure and under the second bridge, the sphere was made much smaller than the original (the diagram shows a diameter of 5m).<\/p>\n

Right:<\/em> Inside the celestial sphere. Silhouettes of Sanada and Sasha are drawn for comparison.<\/p>\n

\n
\n

Cosmo Hound<\/h3>\n

The medium-sized craft that first appeared in Yamato III<\/em> appeared in the remake series in 2205<\/em>, which corresponds to The New Voyage<\/em>. The role of the Earth side’s experimental dimensional submarine, which was necessary to the story, was entrusted to the Cosmo Hound. It continues to play an active role in REBEL 3199<\/em>. Not only is it installed on Yamato<\/em>, but its related craft are also part of the world view, active in various forms such as cargo type and Air Force 1 (Presidential aircraft).<\/p>\n

<\/p>\n

There are too many design difficulties to mention here, but in 2205,<\/em> when we were thinking about what to base Earth’s dimensional submarine on, we decided on the direction of the Cosmo Hound, and somehow managed to get it done by just moving forward. <\/p>\n

In 3199,<\/em> we also roughly designed a gunship-type Cosmo Hound as a vehicle for reconnaissance of the Grand Reverse, which had made a forced landing. It turns its turret to the side and circles above the Grand Reverse, firing test shots to see how the enemy will react. It was hand-drawn by an animator in Chapter 1, and although it does not attack, it makes a brief appearance.<\/p>\n

(Tamamori)<\/em><\/p>\n

<\/p>\n

Rough design: a medium-sized transport vessel with a total length of 40m, which can be stored in Yamato Hangar No. 2. While a total of two medium-sized transport craft can be carried, the number of aircraft that can fit in the drum-type hangar is halved. At upper left is a schematic diagram of the Cosmo Hound that fits into the drum.<\/p>\n

<\/p>\n

Left:<\/em> Rough for the canopy shape. The shape has been adjusted to be different from the original while retaining the impression of a multi-faceted canopy.<\/p>\n

Right:<\/em> Unit design developed from the rough design below. Container and delta wing, normal wings are separable. The delta wing is equipped with a dimensional submarine engine.<\/p>\n

<\/p>\n

Rough design. As mentioned in the interview, the image source is a draft design by Katsumi Itabashi, who designed the original Cosmo Hound. The concept is that by adding delta wings to this part, it becomes the final Cosmo Hound. The long, narrow body is a sci-fi interpretation of the engine and cockpit being placed separately. It also incorporates submarine-like design elements.<\/p>\n

<\/p>\n

The container connection part inside the boat that appeared in 2205<\/em>. It is positioned on the deck below the cockpit.<\/p>\n

<\/br><\/p>\n

Click here<\/a> to read Yuka Minagawa’s coverage of the Cosmo Hound<\/p>\n

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