Special Talk

Exploring the hints of 3199 Yamato

Junichiro Tamamori (Mechanical designer) X Shosuke Uechi (CG director)

The fascination of the mechanic expression of Space Battleship Yamato, which continues to evolve from the original to the remake

While inheriting the “thoughts” our great predecessors put into the design of the original series, Yamato continues to evolve. An indispensable part of the design is the use of CG, which was not available in the original series. Junichiro Tamamori, who has been designing Yamato since 2199, and Shosuke Uechi, who returned to the position of CG director after Age of Yamato, discuss changes in the mechanic design of the remakes, as well as the “heart” of CG production.

Yamato‘s charm is hidden in its “unstable” design

Interviewer: First of all, let me ask Mr. Tamamori, as a mechanic designer, what do you think is the charm of Space Battleship Yamato?

Tamamori: I have always thought that Yamato mecha is an extension of real space development technology. For example, in Yamato‘s universe, there is a definite “up and down.” It’s often said that there is no up and down in a weightless universe, but a spaceship in the shape of a “ship” is navigating beyond the current “common sense.” If this is the case, there must have been some kind of technological breakthrough. That’s the way I think about it.

This is a big difference from works such as Mobile Suit Gundam and Mobile Police Patlabor, which depict the near future. Yamato is not a few decades in the future, but 200 years in the future. I think there is a romantic sense of “room for imagination” in this gap of time.

Interviewer: What do you pay attention to when designing Yamato, and what do you find difficult?

Tamamori: Essentially, the work of designers and CG and drawing staff is to stabilize the shape on the screen. However, I feel that the “true form” of Yamato is that it does not have a fixed shape.

Interviewer: I often hear that in the beginning, the staff involved in the original were working on the project without a clear picture of what Yamato was really like.

Tamamori: Including the initial stage when Leiji Matsumoto and Kazutake Miyatake started working on the design of Yamato, it was born from the hard work of the staff at that time, and it was an unstable form. This can be seen in the pilot film and the manga versions.

Interviewer: In remaking Yamato in its current modern form, you use the latest CG and visual techniques to depict it as a stable mecha.

Tamamori: However, even if we were able to stabilize what was originally “unstable,” I don’t think we should pursue a “stable” form. Rather, I think it’s necessary for Yamato to always pursue a “new form.” That’s the difficulty of designing Yamato today. We need to approach it with a mind close to pure art, so to speak, but we also need to consider the balance with business. I think the work of designers and CG directors is somewhere in the middle.

Interviewer: That’s a unique struggle in the current anime production scene.

Tamamori: Actually, since the beginning of the remake series, I’ve been thinking that it would be nice if the visuals of Yamato could be changed more boldly each time. It’s been ten years since 2199, and I think the way of thinking about technology and design should be updated. But in reality, it’s not so easy. (Laughs) In fact, with each series, I have my hands full just sharing Yamato‘s design history with other staff members.

The same is true for 3199, which is currently in production. As a pre-design problem, we start by checking the content and updates of the CG models that were handed over. Mr. Uechi, I imagine you must be having a particularly difficult time with this.

Uechi: To begin with, the fact that different modeling software was used for each series was a big problem. (Laughs) This is the first time in a long while, since 2199, that I’ve participated in Yamato‘s production. What I wanted to challenge myself the most with this time was to create an expression closer to “normal shadow drawing.”

Tamamori: Do you mean CG processing that’s closer to 2D drawing (cel-look)?

Uechi: That’s right. For example, when an object is in shadow, the interpretation is that a step is taken under the part drawn with a solid line. When you’re drawing it, you don’t apply the first shadow color, you put the normal color on it for processing. This is a method to reproduce the same effect in CG.

Tamamori: I see, so it’s based on a drawing technique.

Uechi: Masanori Nishii (chief mechanical director of 2199) taught me this technique, so I thought I’d demonstrate it to the fullest in 3199, but when I started working on the project, I was surprised to find out that a huge number of CG models was created with different software applications. (Laughs) Now, all the staff are working hard to combat the problem. I’m frustrated that I haven’t been able to get to this technique. My challenge will have to wait a little longer.

Tamamori: As with all CG, it would be nice to have a director who understands the technical aspects of mecha, including expression techniques. So I’d like to talk more about the technical aspects of the project.

The 2199 Yamato was designed with the next voyage in mind

Interviewer: As the story progresses from 2199 to 3199, Yamato will be renovated again. I’d like to ask Mr. Tamamori, who is in charge of all the designs, to tell us about the points of Yamato‘s renovation.

Tamamori: Earlier, I mentioned that Yamato is always pursuing a “new look” in its design. I was actually thinking about this when designing Yamato for 2199. In the planning stage, I designed Yamato with the idea that its shape would change as it traveled to and from Iscandar. For example, we wondered if there might be modifications to increase the size of the Wave Gun muzzle during the trip, things like that. In fact, I couldn’t actually depict the changes in the main story, but I always had it in the back of my mind as a background concept.

Interviewer: Were you thinking about design assuming that the series would continue after 2199?

Tamamori: Yes. For example, the position of the waterline. In 2199, three torpedo tubes are arranged to cross the waterline. I adjusted the position so there were two above and one below. If a remake of Farewell to Yamato was to be made, the waterline would go right through the middle of a torpedo tube. So I took that into account for balance. The waterline is an important element in the characterization of Yamato.

Interviewer: I didn’t realize that you had thought that deeply about it.

Tamamori: Then there’s the bow section, including the fairleader. There’s a decoration on the upper edge of the bow that fans call a “chicken crown.” In the first original work, each fairleader was pointed and retained the feeling of handmade armor decoration and craftsmanship, which we followed in 2199. The subtle nuance around the bow of the ship was indicated there. In the end, General Director Yutaka Izubuchi put it together with the 3DCG team.

The CG production team was surprised to see 108 pulse lasers…

Interviewer: Next, please tell us about the design points of Yamato in 2202.

Tamamori: The position of the waterline and the shape of the bow, which we had thought of at the time of 2199, were adjusted as planned. We also changed the balance of the ship, which was a bit thin in 2199. The forward deck was widened a little. I also adjusted the fairleader to match the famous forward view image in Farewell.

Interviewer: I felt that the bow of the ship became much larger.

Tamamori: I widened the Wave Gun muzzle a little and raised the fairleader, which was tilted at a slight angle, to a vertical position. Also, the main engine nozzle was made larger in diameter to create the distinctive impression of the rear view in Farewell. This reflected an order from director Nobuyoshi Habara.

Another point of modification was a “fourth bridge,” added directly below the No. 2 sub-turret. Some people may ask, “Why put in something that isn’t used?” However, in the rear pass drawing by Naoyuki Katoh, there is something that looks like a fourth bridge.

In the original Yamato design drawings by Kazutaka Miyatake and Naoyuki Katoh showing the “aft three-dimensional pass,” there is what appears to be a bridge behind the mast section, drawn at the base of the second sub turret. Based on this, we infer that a “fourth bridge” may have been installed, although it does not appear in the main story.

Interviewer: It’s also seen in the opening of the first work, isn’t it?

Tamamori: Yes. My in-story interpretation was that the construction couldn’t be completed in time for 2199, so it was done for 2202. I also made a setting for armor to come down and cover the windows. It wasn’t used in the series, and never got used at all in the end. (Laughs)

Interviewer: I hope it will be used in future productions.

Tamamori: Then there’s the pulse lasers. In 2199, the number of barrels was set to 108, which is an unlucky number, but it was in accordance with the first work. In 2202 the number was slightly increased. In 2205 it was not increased.

Uechi: In 2199, it was especially difficult to prepare the pulse lasers. (Laughs)

Tamamori: When you say prepare in CG terms, do you mean preparing it to emit light?

Uechi: That’s right. We put in a function to extend the projectile line from each barrel.

Tamamori: Oh, so the firing line is planted!

Uechi: That’s right. The workers screamed about them one by one. (Laughs)

Tamamori: So it was an unlucky number after all. (Laughs)

Interviewer: Scenes with the pulse lasers are really cool, aren’t they?

Uechi: The screen turns red with bullets. (Laughs)

Tamamori: Since you’ve been a member of the Yamato team since 2199, I think I can leave it to you now. (Laughs) I still get questions like, “What color should we use for the pulse lasers?” I’m sure you’ll be very particular about it, so I don’t have to worry.

Tamamori’s commitment to considering the flexibility of modelers

Interviewer: Next, please tell us about 2205‘s Yamato.

Tamamori: The main engine nozzle was a particularly big renovation point. We had already made it bigger in 2202, but Mr. Fukui siad, “I want to make it smaller.” (Laughs) However, I designed it to be a little smaller than it was in 2199. The idea is that it would be natural for sizes to be reduced as technology evolves. Also, the rise of the fairleader is not vertical, but slightly tilted.

A hatch was added to the hull so that the Cosmo Hound could be installed. In fact, we had been thinking of a way to store the Cosmo Hound since 2199. If you remove part of the hangar for the Cosmo Tiger fleet, you can open up enough room for the total length.

Uechi: It seems to be very difficult to secure the clearance in the design.

Tamamori: I’m always annoyed with trying to find the happy medium. (Laughs) But what I’m particular about when I think about design and settings is that when it’s turned into a model kit, it’s a shape that a builder can easily modify into their “ideal Yamato.” The three-dimensional form of the model follows the image in the movie, so when I’m redesigning it, I try to create a shape that’s easy to modify.

The anchor mark of 3199 was decided after much consideration

Interviewer: Now I’d like to ask you about the 3199 Yamato. Whatever you can tell us right now is fine.

Tamamori: As you know so far, there are the “anchor marks” on the bow and both sides, and the “battle stripes” on the barrels of the main guns, just like in the original. In the previous remake series, only the upper part of the anchor is a ring, and the left and right sides are small circles, but we’ve changed it to “all three rings” which has a meaning as a kind of medal. I’ve considered whether there should be more than one type of anchor mark in the remake series, then I decided to use an anchor mark with three rings.

Interviewer: When it was presented in the promotional video, there was a great response from the audience to the relief shape of the anchor mark.

Uechi: The anchor mark on the bow of the ship in the promotion video was created after experimenting with lighting and other factors during the modeling process. We listened to Mr. Tamamori’s opinion and made a lot of adjustments.

Tamamori: Since it’s attached to a ship, it has a different sense of scale than a mark attached to a fighter. I don’t want the mark to look flat and dirty when seen from a distance. The original anchor mark was drawn flat on the cel, so you can’t see how the bow fairleader is sloping.

In 3199, which is depicted in 3DCG, the anchor mark will be attached to the bow, which is inclined a little, so we can’t tell what it looks like as a relief without experimenting with it. I gave them two or three retakes, and then I thought to myself, “Are we running out of time?” I was persistent and the result was a good anchor mark, so it was worth it.

Uechi: Yes. I think it stands out well whether you pull back or move it closer.

A CG director’s commitment to modeling

Interviewer: Mr. Uechi, what is your impression of Yamato‘s design changes so far?

Uechi: I came back to it after working on 2199 and Ark of the Stars, so at first it was like seeing something different. I thought, “I guess a lot of things must have happened without my knowledge.” (Laughs) But I realized once again that the “essence” of Yamato has not changed. Its appearance has changed in many ways, but I felt that Mr. Tamamori and his team were working with a firm “core” in mind.

Interviewer: When creating a CG model, you have many opportunities to communicate with designers such as Mr. Tamamori, Yasushi Ishizu, and Mika Akitaka. Are there any memorable moments among them?

Uechi: Currently, if I’m working on Bolar or Dezarium, it’s with Mr. Akitaka. Mr. Ishizu is in charge of Garmillas, and Mr. Tamamori is in charge of Earth. One thing that leaves an impression on me is the way everyone’s thoughts about what they want to do are conveyed through the design drawings. I think my most important job is to convey those ideas to the staff who are working on the project.

Interviewer: It must be a lot of work if you have to read the meaning of the lines and surfaces of the design drawings, and then write the instructions for the staff again.

Uechi: When I find myself in trouble, I immediately go to the designers and ask questions. Since I have the experience of 2199, I can somehow understand Mr. Tamamori’s and Ishizu’s designs and say, “I think this is what they mean.” However, I had never worked with Mr. Akitaka, who is in charge of Dezarium and Bolar, so I might have been confused at first. (Laughs)

What are the qualities of “Uechi Works” that fascinate Mr. Tamamori?

Interviewer: Mr. Tamamori, is there anything particular about Mr. Uechi’s CG models that left an impression on you?

Tamamori: In terms of recent works, I was impressed by the attention to detail in the new part of Age of Yamato. I was impressed by the way they made the CG models with a cel look, and flashing lights such as navigation lights.

Uechi: The new opening part of Age of Yamato was like the first battle between Garmillas and the Earth Fleet without Yamato, wasn’t it? That’s why I paid attention to the details. I intentionally made Kirishima‘s shock cannon look stronger than Yamato‘s.

Tamamori: I felt that scene showed the “underlying strength” of Mr. Uechi and his team. As a designer, I have great expectations for the future.

Interviewer: Where does your confidence in Mr. Uechi’s work lie?

Tamamori: For example, the cel-look texture in the CG. I feel like the visuals he creates have something similar to tokusatsu that makes full use of miniatures, like the old Star Wars. It’s not just beautiful CG replacement, but something created by a human being. I think the new part of Age of Yamato retains an analog taste. I’m very much looking forward to seeing images that make full use of this taste.

Uechi: I am honored! It’s a lot of pressure, though. (Laughs)

Interviewer: Lastly, please give a message to the fans who are looking forward to the release of 3199.

Tamamori: I’m fully aware that fans are waiting for the film. However, it takes a long time to complete a work. I’d appreciate it if you can be patient.

Uechi: As a person who has seen the designs created by Mr. Tamamori and the other wonderful designers, I have nothing but high expectations for 3199. As a CG director, I’m working very hard to create models that will please everyone. I hope you’ll support us!

At the time of starting the design for Yamato 2199, Tamamori planned it with consideration of the differences between the first series and Farewell to Yamato. First, the volume of the ship’s body was increased from the lower part of the mast to the side of the hull to the bulbous bow. The “positional problem” of the bow and stern torpedo tubes was solved by shifting the waterline. In addition, the acute angle of the bow fairleader was extended to a vertical angle, and the length of the bow was shortened. Taking advantage of the shorter bow length, the main nozzle was enlarged.

In the original Yamato design drawings by Kazutaka Miyatake and Naoyuki Katoh showing the “aft three-dimensional pass,” there is what appears to be a bridge behind the mast section, drawn at the base of the second sub turret. Based on this, we infer that a “fourth bridge” may have been installed, although it does not appear in the main story. The “fourth bridge” was redefined by Mr. Tamamori, who speculated that it might have been established to manage combat air traffic control and information from various radar sensors. Mr. Tamamori speculates that this equipment was not completed at the time of 2199.

The main nozzle, which was enlarged in 2202, was reduced in diameter again in 2205. This change was made in response to the original New Voyage, in which Yamato‘s depiction reverted to the first series. In order to narrow down the nozzle body, the angle of the tail fins was adjusted at the same time.

More mecha design interviews:

Junichiro Tamamori on designing Hyuga, October 2022

Mika Akitaka & Shinya Ogura, November 2021

Junichiro Tamamori & Mika Akitaka, October 2021

Nobuteru Yuuki, Junichiro Tamamori, and Yasushi Ishizau, February 2020

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