I think 4 days may be my limit travelling alone. The excitement wears off and places where the plan goes awry piles up. Tedium and lethargy always set in around this time.

 

我想4天大概是我獨自旅遊的極限。起初的興奮磨耗殆盡，計畫出錯的地方越來越多。總是在這時開始心灰沮喪。

 

The breakfast at Villa Fountaine had changed a little, the sausage became a meat patty and the fried rice became curry flavoured fried rice. Taste about the same.

 

Villa Fountaine的早餐沒什麼變化，只有熱狗變成漢堡肉排，炒飯變成咖哩炒飯。味道差不多。

After breakfast and checkout since it was still early, I decided to head to the area in front of Tokyo station for a walk.

 

早餐完退房後還早，我決定去東京車站前走走。

 

Some of the ginkyo trees in the open had already yellowed or fallen while ones in the Marunouchi were still mostly green. The autumn leaves was very uneven this year, likely a result of the swings in weather.

 

有些在空曠處的銀杏樹已經黃了，甚至落葉了，而在丸之內的大多還是綠葉。今年紅葉很不均衡，可能是氣候忽冷忽熱變化太大。

In retrospect I should have gone to Meiji Jingu Outer Garden since I knew it would rain tomorrow morning. I could have at least done a full walk to Yurakucho, it would have delayed going to the exhibition but there was time. The brain had mostly shutdown though and I just went numbly through the schedule for most of the day.

 

我這時已知道隔天會下雨，現在看當初應該去明治神宮外苑的。或著是走到有樂町，會晚一點去展覽但反正今天時間很多。腦袋已經停機了，基本上整天只是麻木的跟著行程走。

 

Nogizaka station connected directly with the art museum. Similar to Roppongi station the line was built very deep beneath the ground and it took at least 5 flight of escalators to get to the entrance.

 

乃木板站跟美術館直接連接。跟六本木站一樣在地下深處，需要搭五段手扶梯才能到入口。

 

Excitement floods back into me once I was handed the beautifully printed ticket.

 

拿到漂亮的入場卷，心情再度興奮起來。

The art museum’s outward facing side was a wavey lattice of glass wall. The inside was an empty space occupied by two upside down cones where upon sat a cafe and a restaurant.

 

美術館的外觀是一片海浪般的玻璃格子。裡頭簍空的空間中有兩個倒過來的圓錐，上頭分別是一個咖啡店和一個餐廳。

This is where Taki and Okudera had their date.

 

這裡就是瀧和奥寺前輩約會的地方。

 

A line was beginning to form outside the exhibit entrance. I rushed to go in before I could get a better look of the art gallery.

 

展覽入口開始排隊了。我連忙上前，暫且先把美術館逛一圈的事放一邊。

 

Sadly there is no taking photo inside exhibit. In addition to the ticket I also got the audio guide (always get audio guides). The Japanese audio guide is voiced by none other than Kamiki Ryunosuke, Taki’s voice actor and long time big fan of Shinkai, and every section had a track where Kamiki would describe his own experience and thoughts toward the particular piece of work. Since this is a huge selling point, the English guide would leave in Kamiki’s Japanese voice for a sentence or two before fading out and the English voice takes over. The English voice also did its best to mimic Kamiki’s soothing, cute, calm, dreamy mannerism.

 

裡頭不能拍照真是太可惜了。除了門票外我還租了語音導覽（去看展覽一定要租語音）。日文導覽是由神木龍之介，瀧的配音員來講解。神木長久以來就是新海的粉絲，展覽的每個區都有一段神木分享他自己對這作品的心得。由於這算是展覽的一大賣點，英文導覽的開頭都會留下神木的原日文，再切入英文的導覽。同時英文導覽的配音也盡量模仿神木那溫和可愛，有點夢幻的語氣。

 

At first the line to around the exhibit moved very slowly as everyone took their time to go through the sketches, storyboards or magazine articles. A few would meticulously note down things in their notebook and one person I noticed would even sketch down the storyboards.

 

一開始隊伍移動的很慢，每個人都很仔細的研究每一張草稿，分鏡構圖和雜誌文章。有的人詳細的草圖上的細節記錄在小本子裡，有個人甚至還把分鏡畫下來。

 

While waiting for the lines to move I also wrote down the more notable features of the exhibit on the phone.

 

再等隊伍移動時我也順便把展覽中有趣的點寫下來。

 

While each of Shinkai’s film would have a dedicated section, they would all focus on a slightly different theme, be it experience, technical detail or thematic message. In addition to the storyboards there would also be a short clip or two showing the end result in the film.

 

新海的每一部作品都有一個專屬區域，每個區域又會專門講解一個主題，可能是製作經驗，使用的技術或是作品傳達的訊息。除了分鏡外還有短篇影片展示分鏡經製作後在電影中的片段。

 

OP

 

Perhaps as a call out to Kimi no Nawa, the very first thing upon entering the exhibit is an OP. It is essentially using various cuts from Shinkai’s films to the soundtrack Dream Lantern from Kimi no Nawa. It’s great and brings a smile to the face.

 

(There will also be an ED)

 

或許是對『你的名字』點頭，進入展覽第一個看到的是一個開場動畫。利用新海的各個作品剪接成一個影片，配上你的名子中的夢燈籠曲子。蠻有趣的。

 

（等下也會有結尾動畫）

 

Hoshi no Koe (Voices of a Distant Star) 星之聲

 

The first section is Hoshi no Koe, Shinkai’s debut film. The section goes into the story that led up to it, how Shinkai created She and Her Cat during his spare time.

 

第一區是星之聲，新海的出道作。這區敘述了新海從原點開始的故事，如何在閒時製作了『她與她的貓』。

 

Hoshi no Koe was a remarkable story, it stunned the world with its beauty, its mix of CG and computer graphics editing, and everything except the music done by his friend Tenmon was done by a single person. It redefined what was considered possible in the industry. Right from the very beginning Shinkai stood out as one of the few who would be seen to have the potential of someday being compared to the great Miyazaki.

 

星之聲的成功本身是個傳奇故事。作品的美感，混和CG和電導繪圖的製作手法，除了音樂由朋友天門負責外其他都是單獨個人製作，震驚業界。這部作品重新定義了動畫製作的可能性。從開始新海就被視為可能某天與宮崎駿其名的少數幾名導演之一。

 

On display was a recreated work desk when Shinkai worked on the piece by himself, a crowded small desk upon which sat an old PowerMac and a huge drawing tablet.

 

展示包含了重現新海當初製作星之聲時的工作桌，一個擁擠的小桌上擺了一個古董PowerMac和龐大的繪圖板。

 

Articles from the time about the film were shown, to help understand how it was received at the time. When Hoshi no Koe was shown in theatre there were people lining up everyday. Even when the last showing had ended there were still people waiting outside, so the theatre decided to put on another showing. Then another, then another, well into the night.

 

電影推出時的雜誌介紹也在這展出，幫助理解當時對這作品的評價。當星之聲上映時每天都大排長龍。當最後一場放映完後外面依然有人在等著，劇場於是決定在上映一場。然後再一場，再一場，直到深夜。

 

Kumo no Mukou (Place Promised in Our Early Days) 雲之彼端

 

Hung from the ceiling was a small scale model of the plane that the protagonist built in the film.

 

從天花板用鋼絲吊著電影內主角組裝的飛機的模型。

 

This section described Shinkai’s first experience working with a production crew and the struggles he faced. This was a trial by fire for Shinkai. Although the film barely came out and was flawed in may aspects, it laid the foundation for Shinkai’s subsequent work and gave him a core of staff to rely upon and together improve throughout the director’s career. Most notably background art director Danji Takumi who would go on to work on every Shinkai film.

 

這區介紹了新海第一次跟團隊合作的經驗。這是新海的一場實戰磨練。雖然電影差點做不成，許多地方也都有缺陷，這作品的確為新海打下了未來製作的底基，給了他一批可信賴的核心團隊，在他的導演生涯中一同成長。特別一提的背景作畫監督丹治匠，在這之後新海的每一個作品都有參與。

 

It explained Shinkai’s love with clouds, where he fell in love with from looking at the skies in his school years during commute. The mountains surrounding his hometown created a great different variety of clouds and he would sketch them down in his drawing book.

 

這區也解釋了新海對雲的熱衷。他家鄉四面高山環繞，地形產生的雲多采多姿。在學生時代通勤時他喜歡看窗外的雲，把雲的模樣描畫入圖本內。

 

5 cm per second 秒速五釐米

 

The film which most Shinkai fans would come to know the director, as Kamiki admits to be one of them in the narration. He talked of how he fell in love with the pure simple portrayal of love, longing and distances.

 

大部分粉絲們接觸導演的第一部作品，如神木在導覽中坦言包括他也是。神木敘說他非常喜歡電影中對愛情，思念和距離單純的描述。

 

The film saw incredible success and despite a limited showing was so popular it had an unusually long run in the theatres.

 

電影非常的成功，雖然上映的劇場有限但因太受歡迎，在劇場上映了異常之久。

 

The focus apart from the film’s history, was on how the beautiful backgrounds were created. For people unfamiliar with photoshop or digital painting the section would have been greatly informative.

 

除了對電影歷史的講解，這區也介紹這皆美麗的背景是如何繪製的。對photoshop或數位繪畫不熟的人應該是會有突破性的理解吧。

 

The example used to illustrate the background composition was the scene with the parked cars and cherry blossom leaves. The whole background consisted of around 30 layers, the sign card boasted. I’m surprised the whole background only consisted of 30 layers.

 

用來解釋背景架構的例子是電影中櫻花樹下停著汽車的畫面。整個背景是由大約30層畫結合而成的，牌子上這麼誇道。我對這樣細膩的背景竟只用30層更感到意外。

 

A common question regarding whether the backgrounds are edited photos or based on photos. This is answered here by showing a series of original real life photo taken during location scouting and their final background art. A fews things can be gathered: the backgrounds are not merely painted over photos, objects in the scenes are shifted and adjusted and the perspective at times changes; Shinkai knows exactly what shot, angle and framing he wants when he goes location scouting, the reference photos aren’t just wide shots to take in the scenery and objects, they are already composed and framed to how the end artwork should look.

 

常會有人問這些背景是直接用照片更改的還是只是用照片作為參考。這裡特地用一系列當初參考地點的照片和最終畫出的背景做比較。可知道幾件事。背景不是直接畫在相片上，相片中的東西有移動，改變，或是轉換角度。另外是新海去找地點拍照時就知道他想要的樣子，參考用照片不只是單單用廣角照入景色和事物，而是已經過構圖，照出他心目中完成的背景畫的樣子。

 

Here written on the walls, explained Shinkai’s philosophy behind his films.

 

一面牆上寫著新海製作動畫的想法。

 

When things get tough, the closest source of comfort is scenery. when feeling no one understands, step back and look at big picture, all people connected to larger world.

 

Even if sad, in the beautiful scenery, you are part of something beautiful.

 

當痛苦時，最接近的安慰就是風景。當感到沒有人理解時，退後一步看遠一點，所有人都聯繫著廣闊的世界。

 

就算傷心難過，在這美麗的風景中，你就是這美麗的一部分。

 

On the wall the cherry blossoms fell. On the TV flashed through scenes from the movie to the theme song of One More Chance, One More Time. Sadness, regret, memories. I was not the only one in the room with wetness in the eyes.

 

牆上一瓣瓣櫻花落下。電視上隨著主題歌『再一次機會，再一次來過』閃著電影片段。苦澀，悔恨，回憶。房間裡不只有我紅了眼框。

 

Children Chasing Lost Voices 追逐繁星的孩子

 

The exhibit put significant emphasis on how this film came about. Unsaid that this film was not received well by the fans.

 

展覽特別花心思敘述這一部作品的由來。隱喻沒說的是這部片在粉絲中評價並不好。

 

After 5cm per second Shinkai went on a world tour to the middle east and London, where he thought about where to take his next film. The answer was Children Chasing Lost Voices where he wanted to return to the roots of Japanese animation and adopted more traditional methods, including designs, palette, and the use of concept visuals which were drawings of a scene, in much more detailed than the usual storyboards, to better convey the fantasy world as envisioned to the team.

 

秒速五釐米之後新海啟程去中東和倫敦，一段國際巡迴交流，同時思考下一個作品該往哪方向發展。答案是追逐繁星的孩子。新海在這部中想回歸日本動漫的根基，選擇比以往傳統的手法，從設計，色彩，到概念插圖，一種比分鏡搞更細膩的圖，好把奇幻世界的概念傳達給團隊。

 

The technical aspect explained here was the colour setting and brushes.

 

技巧面則是解說色彩設定和畫筆。

 

Colour setting was new to me. The colours used for the characters have to change to suit the colour tone of the scene. Each item of the character and their skin tones had to be decided and codified to create a consistent look throughout the film.

 

色彩設定對我是新的東西。角色上的顏色需要依照這一幕的色調有所調整。角色所穿戴的每一樣物件，膚色，都需要決定配色，記錄統一，才能在整部作品裡呈現一致性。

 

The different photoshop custom brushes used to paint the backgrounds were shown here. Displayed most prominently was the brush used to draw clouds.

 

至於photoshop中繪畫背景的自訂畫筆在這展出。放在最顯眼位置的自然是用來畫雲的畫筆。

 

The initial town in the film was based on Shinkai’s hometown.

 

追逐繁星的孩子一開始小鎮是以新海老家為範本。

 

The item on display here was a replica of the crystal radio.

 

這裡展示的實體物件是動畫中的水晶收音機。

 

The section was pain to point out that the film was not received well and this prompted Shinkai to rethink how to balance the message and story he wanted to tell with what the fan wanted.

 

這區語重心長的強調這部作品並沒有得到好評，促使新海重新思考如何在他想表達的訊息，所說的故事中間，跟粉絲的期待做平衡。

 

Timeline, Other Works and Overseas 年表，其他作品，海外

 

Cleverly inserted after Lost Voices to break up the tedium of going through film after film, is a section on Shinkai’s life outside of the films.

 

在追逐繁星的孩子後插入一區新海在電影外的活動的介紹，很聰明的中斷作品接著作品乏味性的累積。

 

On the wall was a timeline of Shinkai’s life, how his career developed matched to developments in the world. The development of digital technology and how Shinkai was one of the pioneers that took up the medium. The development of the iphone and other major events such as the 311 earthquake. The last point is particularly important given Kimi no Nawa was partly inspired by Shinkai’s visit to Touhoku and his desire to create a more uplifting story for a nation in sorrow.

 

牆上的年表紀錄的新海的一生，他事業上的發展比對世界的變化。科技數位化和新海是利用數位化來創作的先鋒之一。iphone的發展和如311地震的巨變。311地震對你的名字有特別意義，當初創作的啟發是在新海在去過東北後看到地震後的景色，使他決心要給沉浸在哀傷中的國人一個激勵人心的故事。

 

Shinkai did speed skating in primary and archery in high school, both of which featured in his films.

 

新海在小學有參加競速溜冰，而到高中則是加入弓道部，兩者都有在他的電影中出現過。

 

Also showcased are some of his works outside of the major films, about his works at Falcom and the OP he created there for the games. The exhibit isn’t shy about mentioning his involvement in EF but they did avoid showing the OP…. which is a shame.

 

還有展出的是他在電影之外的製作，如在電玩公司Falcom製作的遊戲開頭影片。展覽並沒有忌諱他參與遊戲EF的事但並沒有展出那個遊戲的OP…有點可惜。

 

Shinkai’s other works also included short features such as the one for NHK about a cat trying to destroy the world, various advertisements (they didn’t show the one for Z-Kai….) and sponsored project like Dareka no Manazashi (Someone’s Gaze).

 

新海其他作品還有短篇動畫，像是幫NHK製作的，有關一隻貓想毀滅世界的故事，各種廣告（竟然沒有展出Z-Kai的那片）還有企業贊助的作品『來自誰的凝望』。

 

Shinkai from the very start had a comparatively wider overseas reach than his contemporaries. All the various DVD/BD cases and movie posters from around the world in their respective languages and slightly altered designs. It is a great showcase of an aspect that is really unique to Shinkai. (Shinkai is really loved overseas, I don’t think I’ve seen other directors being called nicknames the way Shinkai is by many Chinese/Taiwanese fans, Makoto ni-san, Big-Brother Makoto)

 

新海從一開始就比其他動畫導演在海外更有知名度。有各種世界各地各種語言的DVD/BD盒子，電影海報，有的設計也有更改。很棒的點出新海蠻獨特的一點。新海在海外真的是很受歡迎，在我所知沒有別的導演被粉絲稱為哥的。誠哥。

 

Shinkai’s literature background. Shinkai studied literature as his university major and is very well read. On display are many books which Shinkai drew his inspirations from. Not surprisingly amongst them is Haruki Murakami.

 

新海的文學背景。新海在大學是主修文學的，涉獵廣泛。一個展示櫃中滿是新海尋找靈感的書籍。毫無意外的當中有村上春樹。

 

There’s a small bit on the common themes that exhibit throughout Shinkai’s works. The railway, the use of lighting to reflect mood, the cats (btw there’s a funny quiz in the audio guide about the name of Shinkai’s cat). It seemed like an odd inclusion as its own section, turns out it’s actually really clever, to be seen later.

 

還有一小部分在解說新海作品中常出現的元素和主題。鐵道，光影來表現情境，貓（話說，語音導覽裡有個關於新海養的貓的名子的小測驗）。刻意加入這樣一個部分有點奇怪，但其實這是展方別有巧思的設計，晚點揭曉。

 

Garden of Words 言葉之庭

 

Did it start to rain?

 

Upon walking into the section, the audio guide springs to life on its and and begins playing the sound of rain.

 

開始下雨了嗎？

 

一走進這區，語音導覽自動開啟，撥放下雨的聲音。

 

Rain, is the theme of the film and the theme of the section. A veil of transparent threads are hung from above, with ever changing light projections it created an effect of falling raindrops.

 

雨。這是這部動畫的主題，也是這區的主題。一面透明細繩組成的帷幕高掛在頭頂，在變化的光線投射下正如下雨一般。

 

After the reception of Lost Voices, the guide explains, Shinkai sought to look for the way to create something for the fans without compromising his own visions. The Garden of Words was what he came up with.

 

在追逐繁星的孩子有了那樣的評價後，導覽解釋道，新海試圖尋找能符合粉絲期待，又不需妥協他自己創造的方法。於是有了言葉之庭。

 

To create the rain in Garden of Words, Shinkai went out when it rained to study the many effects of rain. From the misty effect to the way rain splashed off stones and trees.

 

為了描繪言葉之庭中的雨，新海常在下雨時出去研究雨的各種型態。從霧氣到雨點落在石頭和樹上的感覺。

 

In Garden of Words a new technique was also experimented where the outline of characters was coloured as reflection of the surroundings. This created an effect that allowed the characters to blend in with the exquisitely painted background while still pop out of the scene.

 

在言葉之庭中新海嘗試了一種新手法，在角色的線條上反映周遭的顏色。這使得角色能融入美如仙境的背景，同時又能在場景中突顯出角色。

 

On display is a replica of the shoes Takao made for Yukino. An actual pair of shoes were custom ordered and created as drawing reference but it was later dismantled for sound effect.

 

實物展示的是孝雄為雪野做的鞋子。製作時有實際訂製一雙鞋子作為作畫參考，但後來被拆解來做聲效了。

 

It’s interesting to see Shinkai’s storyboard evolve over time. They get much more expressive and the animation instructions ever more detailed, the later may have been a necessity as the team gets larger and harder to communicate face to face.

 

新海的分鏡隨著時光有很大的進步，很有意思。分鏡越來生動，動畫指導也越來越詳細。後者可能是團隊越來越大，不容易親自解釋而不得不的。

 

Kimi no Nawa (Your Name) 你的名字

 

Finally the breakout phenomenon. The section is less like a Shinkai show and more of an Ando and Tanaka show, bringing the design and animation skills of the two to the fore.

 

終於到了一鳴驚人的傑作。這區與其說是新海誠的展出不如說是安藤雅司和田中將賀的舞台，展現兩人設計和動畫的技巧。

 

Despite Tanaka being listed as the character designer in the original trailer, it’s emphasized here that Ando had just as much if not more input into it. While Tanaka provided the base of the designs, it was Ando who did the expression references and most importantly the posture references that contrasted how the characters should move depending on who was the person inside the body.

 

雖然田中將賀在一開始的預告中是列為角色設計，這裡強調的是安藤雅司在也有參與相當的部分，甚至可能更多。田中提供了一開始的基本設計，但安藤把兩個角色的演出演活了，比如說他畫的表情範本，還有更重要的姿勢範本，凸顯兩個人在當身體內不同的人的靈魂時不同的動作姿態。

 

On display was the kumihimo weaving tool.

 

實物展示的是編織組紐的工具。

 

For the technical aspect they tried to show how the flying transition from Tokyo to Itomori was created using layered drawings placed in a 3D space before a 3D model of Itomori lake. A physical model is on display to illustrate the effect, built using sheets of glass with painted Tokyo buildings and a plastic model (like the model 3D map one often sees in tourist centres).

 

技術面解說的是東京飛轉到系守町的過場，利用在3D空間設立一層層平面畫，最後擺在系守湖的3D模型，這樣穿過畫層時就像是飛過東京般。這裡實際用貼有東京大樓的玻璃和塑膠模型（類似遊客中心常可看到的3D地圖）來呈現電腦3D的效果。

 

The creation of the beautiful kagura dance is also explained, how Shinkai recorded actual performance of the dance and used it as a direct reference to animate the sequence.

 

動畫中的神樂舞也有介紹，新海錄下了真人表演作為作畫參考。

 

The exhibit overall goes out of its way to point out the works of the animators and artists. This isn’t just a Shinkai show. Example of works are also displayed to show off how the animators and artists bring the characters and backgrounds to life. The corrections to keyframes made by the animation directors, the comments they made to Shinkai’s original instructions. This goes for all of the films but is most evident in the Garden of Words and Kimi no Nawa sections.

 

展覽中特別強調其他動畫製作和畫家的貢獻。這不只是新海的個人展。利用各個作品中橋段來介紹負責這橋段的動畫製作或畫家，是怎麼賜予角色或背景生命。動畫導演對關鍵格的修改，對新海當初寫的指示的意見。每個區都有這元素，但言葉之庭和你的名字著墨最多。

 

In the Kimi no Nawa section there’s a very amusing series of drawings comparing what the original instruction sketch from Shinkai was, and how Ando the animation director interpreted them. Ando, who famously contradicted Miyazaki several times back when he worked on Spirited Away (and rumoured to be why he later departed the studio), was not shy about correcting Shinkai either. There is one sketch where Mitsuha was moved by emotion had the complete opposite expression of what Shinkai originally sketched. Ando’s take was much better.

 

你的名字區中也一很有趣的展示，分別是新海畫的初稿和指示，然後安藤作畫監督如何詮釋。安藤很有名的曾在製作神隱少女時與宮崎駿槓上（傳說因此退出吉卜力），對新海照樣毫不留情。其中有張三葉感動的畫面，其中三葉的表情跟新海原本畫的完全不一樣。安藤的手法好多了。

 

A side note. Contrary to popular belief Shinkai can draw characters quite well, unless the character sketches in the storyboards were redrawn by others.

 

另一提。一般可能認為新海不會畫人物，但其實他畫的還不錯，除非分鏡稿中的人物有給他人重畫過。

 

ED

 

The OP was an appetizing intro to whet one’s appetite for the exhibition. The ED concludes in fabulous fashion beyond imagination. If the OP is a 8/10 then the ED is a 30/10.

 

開頭動畫算是展覽的開胃菜。而ED則是超乎想像的華麗收場。若OP是80分那ED就是300分。

 

Two humongous screens side by side, at times showing a single scene, most of the time showing two scenes from different films containing the same framing, shot, action, message or dialog.

 

兩個巨大篇幅銀幕並排，有時顯示一整個影像，大多時候則是兩個不同作品的場景，但擁有相同的構圖，拍攝角度，動作，訊息或台詞。

 

I have never, ever, realized how much common elements there are in all his films. The common themes section from before floods to mind and suddenly each one of his individual films melded into mere acts in a single flowing performance.

 

我從來沒有意識到過新海的作品中有這麼多共同元素。之前對共通點的介紹湧入腦海，瞬間新海的每一部動畫溶成同一部流水般巨作。

 

The ED sums up the theme of Shinkai’s word up in a grand, spectacular, awe-inspiring, mind-blowing, realization-dawning MAD style mashup of every film composed in Shinkai’s trademark heart stringing rhythmic cuts with crescendos upon crescendos reaching beyond the beautiful clouds and starry skies.

 

ED將新海語詞間所表達的主題用一混和所有作品的動畫樂曲短片作總結。盛大，壯觀，令人振奮，驚奇萬分，啟發領悟的，用新海代標性帶動心弦的剪接收法，一強高過一強，衝破天際唯美的雲彩和星海。

 

Every cold foreboding cityscape, every brilliant ray of fleeting joy at twilight, every empty landscape that reminded of a better past and uncertain tomorrow, every filled streets that spoke of the loneliness inside, every flash of railway hinting the distance between.

 

每一幕冷木不祥的市貌，每一幕黃昏時如喜悅流逝的光輝，每一幕想起過去美好和未知明天的空蕩景色，每一幕擁擠的街道敘說內心的孤單，每一幕閃過的鐵道暗示彼此間的距離。

 

Every call, every monologue, every cry for the name of the longing within, every cry in search of happiness that belonged and would have no other, every defiance, every step and leap to action, every burst of tears of wonder; of lost; of hurt; of emotions that binds us in this beautiful world.

 

每一聲喊叫，每一句獨白，每一次喊出內心渴望的名字，每一次呼喊尋找無可取代的幸福歸屬，每一反抗，每一步踏出採取行動，每一滴因奇蹟湧出的淚水;因失去;因傷痛;因在這美麗世界將我們串連的情感。

 

この世界のことを好きだと思う

 

I like this world I think.

 

我喜歡這世界，我想。

 

The video ends the exhibit with the same words that Shinkai used to end his very first work, She and Her Cat.

 

影片最終用新海第一部作品最終的同一句話做總結。

 

Exit the exhibit and one reaches the only section where photo taking is allowed. The photo wall scene of the Itomori memorial Taki and Okudera visited is re-created, only this one with colour real-life photos and a cheerful tone. There is also an AR booth where one can get their photo taken and be inserted into a scene from Garden of Words.

 

走出展區後是整個展覽唯一可以拍照的區域。瀧和奥寺前輩所看的系守町回憶展在此重現，不過是現實場景的彩色拍照，充滿愉快氣氛。還有一個AR機器可拍照後將人放入言葉之庭的場景內。

 

The goods shop sold many goods limited to the exhibit. T-shirt, postcards, notebooks, clearfiles. Some of the more interesting items included a scarf, the hourglass from the Sparkle MV (the hourglass does not appear in the movie), the kumihimo Mitsuha gave Taki (there are two versions, an plastic imitation and a real kumihimo that required a month wait time), magnets (which I bought) and a exhibition book containing everything that was in the exhibit and various interviews (which I probably should have bought, too tired).

 

商品店有許多展覽會限定商品。Tshirt,明信片，筆記本，收納夾。比較特殊的東西如圍巾，Sparkle音樂影片中出現沙漏（收漏在電影中則沒出現），三葉給瀧的組紐（有兩種，一個塑膠仿製物，另一個真的組紐預購需等一個月），磁鐵（有買），還有包還所有展出圖畫和訪談的展覽書冊（可能還是應該買的，太累了）。

I checked my clock and was shocked to find it was 2pm. I had spent over 3 hours in the exhibition.

 

我看了看時間才驚訝已經2點了。我在展覽中花了3個多小時。

There was no time to go to Shinjuku to see the real life locations that appeared in the movie. I head back to Villa Fountaine to pick up my luggage and head to Super Hotel Shinbashi.

 

沒時間去新宿動畫場景朝聖了。我回Villa Fountaine取出行李去Super Hotel新橋。

 

The Mita line went from Jimbocho to Onarimon, a little bit south of the Shinbashi area.

 

三田線從神保町到御城門站，在新橋南邊一點。

 

Super Hotel Shinbashi is in an interesting location, right in the middle of a district and about equal distance of 400-500m from Shinbashi, Shiodome and Onarimon station.

 

Super Hotel新橋的位置很好玩，在一個町中間，到新橋，汐留，御城門差不多都是400-500m。

 

The process of checking in was well familiar to me. Super Hotel is unique with its use of keypad locks, it removed the need for check outs and reduced staff workloads and in turn, costs.

 

入住的手續已經很熟悉了。Super Hotel用的是獨特的密碼鎖，這樣就可省去退房和所需的人工成本。

After check in it was time to go through the checklist and get everything that was needed for the next few days ahead.

 

入住後該檢查清單，把接下來所需的東西一一辦好。

 

The metro pass, the Hakone pass, the shinkansen ticket and scouting out station layouts and restaurant locations.

 

地鐵卷，箱根卷，新幹線票和確認車站動線與餐廳地點。

 

Most of these involved Shinjuku so I headed there first.

 

大部分在新宿所以先去那裡。

 

First item was the Hakone pass from Odakyu railway since the Odakyu Service Centre closes fairly early at 6pm. It is still possible to get it from the other general Odakyu tour service at the south exit (this one closes at 7pm) but they don’t have foreign staff there.

 

首先是箱根pass，因為小田急觀光服務中心6點就關了。雖然也可以在小田急南口的服務櫃檯買（7點關）但那裡沒有外語服務。

 

The Hakone pass was sold at the airport, Odakyu Sightseeing Service at Shinjuku or purchased from station ticket machines on the day. The transfers are going to be tight and getting them beforehand was paramount.

 

箱根pass可在機場，新宿小田急觀光服務中心或是當天從販票機買。轉車非常緊湊所以一定要預先買好。

 

There was a huge queue and process was slow. They were mostly Taiwanese (saw a lot of Taiwanese on this trip, not many mainland Chinese) and the service desk had several Taiwanese for that purpose. Progress was slow because many people do not necessarily realize that Hakone pass that included travel from Shinjuku to Odawara does not include express charges for one to take the romance cars, so there’s a lot of back and forth explaining, then once that’s explained people had to make a reservation for the romance cars (they are reserved seats only).

 

買票的隊伍很長，處理速度很慢。大多是台灣來的旅客（這次看到很多台灣人，大陸的到不多）而櫃檯特意派有幾個台灣人員。速度慢的主因是很多人弄不清楚新宿到小田原的票卷並沒有含做浪漫號特急的錢，需要慢慢解釋，在那之後還需要幫忙訂位（浪漫號是全車指定）。

I only needed the Hakone pass that covered the basic area. I told the staff the date I wanted, emphasized that I wanted the basic version, filled in a form, received the tickets in no time and I was finally on my way.

 

我只需要基本版箱根pass。我跟櫃檯人員說了我要的日期，強調要的是基本版，填了個表格後馬上拿到票走了。

 

Next was the metro pass. The 72 hour subway ticket that allowed unlimited rides on both Tokyo Metro and Toei lines is limited to foreigners and cost 1500Y. I had estimated that we would use at least as much as the metro pass would cost and anything more was just extra savings. Won’t be much if any, but the convenience was nice. So I headed to the BIC CAMERA just on the west side of Shinjuku station.

 

接下來是地鐵pass。72小時地鐵pass可無限搭乘東京地鐵和都營地鐵，限定外國人1500Y。我估算過地鐵至少會用到那麼多，再多就是多省。不會省太多，但反正方便。我往新宿西側的BIC CAMERA走去。

 

The man at the info desk was only willing to sell me one of them, to my frustration. The rule was that if one needed more than one pass because one intended to stay in Tokyo for a longer period, one should come back after the first one expires. It was meant to prevent abuse by foreigners reselling it to locals, but I was only asking for 2.

 

在服務台的大叔只肯賣我一張，很煩人。規定是若要待久一點需要超過一張的話要等第一張到期後再去買。理當是避免外國人買了後轉賣給當地人用，但我也只不過是要2張。

 

They only checked that one had a passport with the tourist visa sticker and did not make any records. I figured that and realized I have to go to the other BIC CAMERA on the east side and get the other one there.

 

他們只確認護照內有觀光簽證，並沒有留紀錄。想到這點，我想到我可以到東側的BIC CAMERA買另一張。

 

Before that though I headed downstairs to confirm the location of the ochazuke (rice soaked with tea) restaurant I considered coming tomorrow. Once that’s been done and I started to head to the east side, I paused and thought I should have something to eat, as I had not even had lunch.

 

在那之前我先下樓確定了明天可能會來的茶泡飯餐廳地點。確認後正要去東側，我停了下，覺得應該找點什麼吃，到現在連午餐都還沒吃。

There was a soba/udon shop a few shop up from the ochazuke place, similar to the one I had last night. Seemed like a good choice.

 

茶泡飯幾家店隔壁有家蕎麥烏龍麵店，跟昨晚吃的那家類似。看起來也不錯。

 

I ordered the daily special. The tempura vegetable patty was too oily, otherwise taste is okay.

 

我點了當日特餐。炸蔬菜餅有點太油了不然還算OK。

Now I got something in the stomach I was feeling better. I got the other metro pass from the other BIC CAMERA (which is really really tiny for some reason, I’m used to them being quite big).

 

胃裡有點東西感覺好多了。我在另一家BIC CAMERA買了另一張地鐵pass（這家不知為何超小，已經習慣BIC CAMERA很大了）

 

Next up is confirming the layout of Shinagawa station. I took the Yamanote line there and paced several times up and down the concourse from the local JR line to the shinkansen ticket gates. About 4 minutes to the gate at a quick walk, then to go through and up the stairs… 5 minutes transfer at a minimum, 8 to be safe.

 

接下來是確認品川車站的動線。我搭山手線到品川然後前後從JR在來線走到新幹線閘門數次。快走的話到閘門需要4分鐘，加上通過閘門上樓…至少需要5分鐘，安全上8分鐘。

 

Then Tokyo station to get the shinkansen ticket and also confirm the location of the pensta store (which I forgot to check the other days, this morning when I thought about I was already outside the ticket barrier and pensta happens to be on the inside).

 

然後去東京車站買新幹線票然後確認Pensta企鵝店的位置（前幾天忘了，早上想到時已經在閘門外而Pensta不巧是在閘門內）。

By the time I finally checked off the last item on the checklist it was past 7pm. I return to the hotel, did the laundry and went to bed. Tomorrow required a very early start.

 

全部處理完後已經是7點後。我回到旅館，把衣服洗好後早早就寢。明天去要很早起床。