Exploring New Possibilities for Universal Century Gundam Through Mobile Suit Gundam U.C. ENGAGE

The smartphone game Mobile Suit Gundam U.C. ENGAGE has been a hot topic, creating new Gundam footage with the same touch as the original series. Many were likely surprised to encounter “never-before-seen footage of Amuro and Char.” Although the footage is new, it is reproduced with the same style as the original, hinting at the possibilities for new Universal Century works. In this interview, we focus on the Amuro-Char mode of the game and ask the project members about the planning and dedication that went into this work.

MOBILE SUIT GUNDAM U.C. ENGAGE
Staff Interview

Hisakazu Naka
(Bandai Namco Filmworks Producer)

Keiichi Ohashi
(Bandai Namco Filmworks Production Desk)

Hidetaka Kuniyasu
(Bandai Namco Entertainment Producer)

Hiroki Naito
(Bandai Namco Entertainment Promotions)

Mobile Suit Gundam U.C. ENGAGE was born out of a strong collaboration between the game and anime sides. Rather than a relationship of simply “ordering/undertaking game footage,” this close cooperation resulted in footage that fits seamlessly into the main story. So, what were the circumstances behind its creation? We asked the staff involved in planning and production about the behind-the-scenes story.

A NEW WAY TO ENJOY GAMES IN A NEW ERA

――These days, I think more and more people are squeezing in gaming during their free time, like on their commute. In that sense, I felt that U.C. ENGAGE really reflects the current era as a Gundam game.

Kuniyasu: As times change, so do the demands placed on games. Elements like “enjoyable in a short time” and “fun to watch” have also become important. With U.C. ENGAGE, we kept in mind players who jump into the game after watching the anime, with “being able to regularly watch anime” as one of our core ideas.

Naka: Originally, when we started working on the project together with Bandai Namco Entertainment, I think the role of anime in games was evolving. Until now, it was game-driven, with us being commissioned to create the footage, but this time, the style was “let’s make both the game and the footage together.”

――My take from the initial rollout was that the concept aimed to show the Universal Century world from a fresh angle, with original characters front and center.

Kuniyasu: That’s right. When it comes to Gundam fans, especially Universal Century fans, the vast majority are already well-versed in the Gundam world. To get those fans hyped, too, we started with content that even UC buffs could dig, built around the idea of “bet you didn’t know this happened in the Universal Century” from the perspective of Pesche, an original character. We also tackled works that hadn’t been animated yet, like Mobile Suit Moon Gundam, Anavel Gato, Johnny Ridden, and the Gibraltar arc (aka Phase 1).

Naka: We had extensive discussions about which era of the Universal Century to create a story for with the desire to create an original protagonist (Pesche) and have something that could only be seen here as the game’s highlight. So we weighed whether we could handle works and eras that hadn’t hit the screen yet. Out of those, the Phase 1 footage was what we managed to clear all the various hurdles and constraints for.

――What was the reaction to Phase 1?

Kuniyasu: Overall, the concept was well-received, and it was good that the character Pesche was popular. Once it concluded with the Mobile Suit Gundam ZZ arc, there were loads of requests for a sequel. Fans loved the fusion of anime and game, which set the stage for phase two, the Amuro-Char mode.

――Content-wise, most games before now have been based on footage from other works, but this one really dives deep into the Universal Century world.

Kuniyasu: The story of Amuro and Char has been developed over a long period of time across multiple works, but there was no single video work that brought it all together. U.C. ENGAGE is the first to develop the story with Amuro and Char as the core instead of just focusing on solo works. However, there are parts of history that have not been told, such as what the two were doing during the seven years between the One Year War and the Gryps War or what Char was doing during the Haman War. We took the stance of properly creating those parts with the cooperation of Bandai Namco Filmworks.

APPROACHING VIDEO PRODUCTION WITH AN OFFICIAL MINDSET

――When creating animated works, I think many fans will get the impression that it has become “official,” so it takes some tricky considerations.

Naka: When creating footage under the Sunrise brand, we approached Phase 1 with the mindset of it being “official history.” After that, Bandai Namco Entertainment proposed the Amuro-Char mode, but we considered whether it would be possible to create a single animated work. With an omnibus format, it was possible to take the approach of “recreating the official history” bit by bit, but when it’s one continuous story, the situation changes. Reshaping it as a drama was a must, which is why director Kou Matsuo joined the team.

――So, the direction is different between Phase 1 and the Amuro-Char mode.

Naka: Rather than recreating official history, the Amuro-Char mode takes the approach of a sidestory for fans, so it includes references from novels and such. In that sense, it differs from the mindset of “recreating official history” in Phase 1. It’s more about creating footage that fans want to see, with the idea of “if we were to recreate it now, this is how we would do it.”

――I see. In a sense, there are some “what if” elements as well.

Naka: Quattro piloting the Dijeh, the Glemmy clone setting… there’s definitely some hand-wringing over whether the more in-depth parts are okay to put out there. There’s also the worry that “if it goes too ‘what if,’ it might be a bridge too far,” so it’s still meant as a side story for fans.

――The first episode of Zeta Gundam is also being portrayed from a slightly different angle, right?

Naka: Actually, that is director Matsuo’s revenge. When creating the theatrical version of Mobile Suit Zeta Gundam, he regretted not being able to redo that scene, so he was dead set on “making it new this time.”

――The role of the Psycho Doga from the novel version is being replaced by the Giessen Doga.

Naka: The question of “what’s official history” is super tricky. Truth is, there are loads of “schools of thought,” so to speak, based on how fans see it. Some say “what Sunrise has made into video is official history,” but even then, fans split into those who “accept it” and those who “don’t.” Some count manga developments and such as official, while others don’t think all video is official. The simplest take might be that “the Universal Century made by director Yoshiyuki Tomino, is basically the official history.”

――For example, in the Macross series, while there is a “canon = history,” the video and other works that have been created are entertainment that recreates it with various interpretations.

Naka: This is just my two cents, but for example, I have the mindset that the various Universal Century stories are like “stories of the Universal Century depicted by later historical researchers.” It’s sort of like historical dramas that recreate the Sengoku period or the end of the Edo period. I think various Universal Century animated works will gradually be created in the future, but I think it would be best if they were perceived in that way. But instead of us pushing that, I hope it naturally flows in that direction.

UNRAVELING WORKS LIKE ARCHEOLOGY

――When creating new footage, what was the actual approach to the work?

Ohashi: The starting point is usually digging into old materials, things the creators have said, mooks and novels from back then, that kind of stuff. For the Amuro-Char Mode, the tricky part was figuring out how to interpret those blank seven years between Mobile Suit Gundam and Zeta Gundam. We don’t know what happened to Amuro after the Battle of A Baoa Qu. All we know is that “seven years later, he was confined on Earth,” and we don’t even know when he got promoted to lieutenant. No material or work ever touches on how Amuro’s rank changed over time. In the end, it kinda boils down to “this is the interpretation we went with this time around.”

――It’s practically archaeology at this point. Archaeology always comes with the caveat of “according to current research,” and even the Tyrannosaurus has constantly evolved, growing feathers and lips.

Ohashi: Exactly. It’s a matter of adding interpretation while considering the overall balance and consistency with established settings and finally handing off to Matsuo for direction.

Naka: The big reason we wanted to bring Matsuo on board this time was that he’s been working with Tomino since way back in the Zeta days, so he really gets the roots of the Universal Century. He’s got a feel for “this is what Tomino would do” and “this is Tomino’s style of mecha action,” and there’s no other director out there who can pull it off while still honoring the existing footage. His solid rapport with cinematographer Kentarou Waki is key, too, and in terms of “creating new footage of Amuro and Char,” I think it was just what we were aiming for. In Phase 1, we just had each director take a look, but for the Amuro-Char Mode, Matsuo oversaw the entire work as a single cohesive work, even the non-anime bits. This time around, the approach was “joint anime-game development,” so just having him glance at the anime part would go against that intent. That’s why we had Matsuo double-check stuff like the character-background balance in the game’s adventure mode screens too.

――In terms of materials like settings, was it made using existing library materials?

Naka: The standing illustrations and such were mostly newly created. In Phase 1, we created a lot of the poses as well, but for the “Amuro-Char Mode,” the stance was to use the poses from existing settei (character/mech design sheets) wherever possible. The poses drawn in those old settei just really capture the vibe of the characters super well.

――So when you say “drawing new,” you mean drawing in the style of the classic settei?

Naka: Past settings can’t always be used as-is due to resolution and other factors, so it means creating game materials with higher resolution. Which was surprisingly tough.

Ohashi: We also created a lot of mob characters that appear in the TV anime. Since we’re following the flow of the original series, we need characters even for the small roles, and that’s something Matsuo was really particular about. Like, there’s this kid Pero who shows up for a hot second as a refugee boarding White Base early on in Mobile Suit Gundam, and we made him from scratch, too. I’d say Amuro-Char Mode has like 5-6 times the number of character shots.

Naka: Normally, that’s the kinda stuff that gets compromised on to save on cost, but the truth is, just including one of those characters can make a huge difference in how the users take it all in. For the Gundam series’ One Year War, there are also settings from Gundam The Origin, but since we’re using footage from the original this time, we went with the classic settings to avoid any weird dissonance with the original footage. We figured fans wouldn’t find it jarring either, and it was a concept Matsuo felt strongly about. I really feel like this project is a continuation of Fly! Gundam 2017, the short Matsuo directed that played on the wall of the life-size Unicorn Gundam statue in Odaiba.

RESPECTING THE ORIGINAL FOOTAGE AND RECREATING THE STYLE OF THE ERA

――The first thing I checked out was the footage from Char’s Counterattack, and it recreated the look and feel of that era so well that I was like, “Wait, was there a scene like this?” The cinematographer, Kentarou Waki, posted a comparison video of before and after the photography processing, and I was blown away by how closely they nailed the original footage.

Ohashi: That’s all Waki’s handiwork, applying filters through photography processing to recreate that style. He went through it cut by cut, constantly comparing it to the old footage and trying to match the original as much as humanly possible. The key to making it look like footage from back then is all in the noise. The noise patterns are random, so it’s all done by hand.

Naka: It’s not something you can just convert with the push of a button. It really comes down to Waki’s skills and dedication as an artist. It’s footage that was only doable because of the shorter runtime this time around.

Ohashi: Waki is part of the generation that grew up loving Gundam as regular fans, while Matsuo has been in the anime game since the analog days. Matsuo might see certain bits as “happy accidents” that would look weird if recreated now, but to Waki, those quirks are visual touches he grew to love as a fan. So Waki would recreate those flourishes in the new footage, but Matsuo would want to nix ’em. I’m sure there was some back-and-forth there.

Naka: Waki actually collects cels from back in the day. They’re a goldmine of reference material, so he’s always gathering that stuff and geeking out over it. Seems like something he’s been dying to try his hand at forever.

Ohashi: When you watch the footage from back then, you’ll notice random junk floating by, not just debris. But it’s a total mystery what that stuff even is (laughs). Atsushi Shigeta, who worked on it back then, handled some cuts this time around, too, but apparently, he was even pretty clueless about it. Director Matsuo was really meticulous about those tiny details, which is why I think they were able to create such standout footage.

Naito: I feel like social media buzz definitely ramped up once the Amuro-Char Mode dropped. Amuro and Char are household names, but I think the fact that it really digs into their history got people talking. It was trending on X (formerly Twitter) way more compared to Phase 1.

Kuniyasu: The Amuro-Char Mode rewinds all the way back to the One Year War era, but it kicks off with the Re-GZ versus Sazabi throwdown from Char’s Counterattack. We even used that clip for the teaser video before the game launched. The Nu Gundam busting out beam saber moves that feel straight out of beam confuse definitely got folks hyped.

Naka: Matsuo handled the storyboards too.

Ohashi: Matsuo pored over the vintage footage and dissected those classic cuts to pull this off. I think his deep understanding of the old-school visuals and his knack for translating that to modern animation is something only he could’ve pulled off.

AIMING FOR NEW POSSIBILITIES WITH UNIVERSAL CENTURY VISUALS

――If you had to single out a scene that really blew you away with its attention to detail, which one would it be?

Ohashi: The scene at the end of Char’s Counterattack with the fall of Axis really showcases their dedication. In the original footage, the whole screen goes red-hot, with this red brush stroke effect over it, but we were like, “Hold up, could that be a goof?” Matsuo and Waki were probably spitballing about how the psycho-frame should actually be green, so in this new cut, they swapped out that red-hot color for a green glow.

Naka: I mean, that theory totally holds water, but it’s also possible they just used red back then as a go-to “Danger!” visual without overthinking it.

Ohashi: That’s true. The somewhat concerning part is that the storyboards do indeed specify a “rainbow-colored light.” However, there’s a possibility that they were unable to do retakes on-site, and Director Tomino made the call to leave it as is.

――Regardless of the actual truth, you can present the possibility that “this could have been the intended approach.” Do you ever consult with Director Tomino for insights on these matters?

Naka: Generally, no. Even if we ask, he’ll just say “I don’t remember” (laughs).

――Even if he did remember, he might intentionally not say anything.

Naka: If it were a broader, overarching issue, we might be able to inquire, but Director Tomino doesn’t tend to focus on such granular details. Moreover, we often opt to align with the fans’ perception rather than seeking the “factually correct answer.” Our stance is to “portray what everyone collectively believes, rather than the literal truth.” That sentiment was frequently expressed on the set of Gundam UC as well, and I believe it has become the fundamental approach nowadays.

――Once a work is out in the world, it’s understandable that the audience’s impression, or the public image, becomes the foundation. In that regard, there is still unexplored territory within the Universal Century and the One Year War.

Naka: Indeed, as we worked on U.C. ENGAGE, I felt that there are limits to creating works that fill in the gaps. In that sense, an approach like the Amuro-Char Mode is interesting as a new endeavor.

――When it comes to “Gundam” games, each new release is usually a chance to re-experience the story, but with U.C. ENGAGE, I felt we got to see new aspects.

Naka: In that sense, it was a new experience rather than a re-experience.

Kuniyasu: There’s also a re-experience mode where you can look back on each work while watching digest movies. It’s precisely because that mode exists that we were able to craft something from a different perspective.

――What was the reaction from the users?

Naito: We’ve set up chances to chat directly with fans, like fan meetups, and they seemed pretty dang thrilled. Obviously, there was the whole “I wanted to see this part” thing, but nailing that old-school cel-shaded look in the footage really clicked with a ton of Universal Century fans.

――From a gameplay standpoint, it also feels accessible and user-friendly.

Kuniyasu: Totally. There’s the fun of “powering up in-game and clearing events,” but you’ve also got the option to just “kick back and enjoy the anime” on a separate track and play through to the end. Even if you’re not some gaming pro, it’s fine if you’re playing purely because you “want to see the anime.”

――The Amuro-Char Mode has wrapped up, but are there plans for future developments?

Kuniyasu: You bet. We’ve got a new chapter in the works that’ll be phase three. November 2024 is gonna be the big three-year anniversary since launch, so I think fans are in for a Universal Century experience that lives up to that milestone. We sincerely appreciate your continued support.