FROM THE LAPLACE INCIDENT TO PHOENIX HUNTING
Interview with Harutoshi Fukui & Naohiro Ogata

THE UNIVERSAL CENTURY IS GEARING UP FOR AN UNSEEN FUTURE

――Mobile Suit Gundam NT follows in the footsteps of Mobile Suit Gundam UC, but it’s being released as a standalone theatrical work. This feels like a fresh approach. Could you tell us about the origins of this project?

Ogata: Well, even after Mobile Suit Gundam UC wrapped up in 2014, we continued to see UC-related content. We had the TV series Mobile Suit Gundam UC RE:0096 hit the airwaves in 2016. A significant milestone was the erection of the life-sized Unicorn Gundam statue in Odaiba. This sparked the idea, “Let’s create a work related to UC,” which led to the conception of Mobile Suit Gundam NT. It’s not just another spin-off, though. We’re using it to kickstart the UC Next 0100 Project, jumpstarting the Universal Century timeline that’s been in a bit of a holding pattern since UC.

Fukui: You know, we’d been tossing around UC-related ideas for a while, but we’re talking about a massive undertaking here. We needed time to get it right. Then it hit us – why not take everything we’ve built in the Universal Century up to UC, throw in some elements from two short stories (The War After the War and Phoenix Hunting), and see if we could reimagine these elements in a fresh context.

――So, why make it a standalone piece instead of a spin-off?

Fukui: After seeing how folks reacted to UC, it was crystal clear – the fans are hungry for what comes next. That’s why we didn’t slap a “UC Sidestory” label on this. Calling it NT is our way of saying, “Buckle up, we’re pushing the Universal Century storyline forward.”

Ogata: Think of NT as our way of taking stock. We’re looking back at everything up to UC while setting the stage for what’s to come. For instance, you have tech called the psycho-frame, right? But then you look at Mobile Suit Gundam F91 or Mobile Suit V Gundam, and it’s nowhere to be seen. NT is going to be that fork in the road, explaining some of these Universal Century mysteries.

――So Phoenix Hunting is more of an influence rather than a direct adaptation?

Fukui: Exactly. We cherry-picked elements from it, nothing more. See, Phoenix Hunting was our way of smoothing out some wrinkles between the novel and anime versions – mainly dealing with whether the Neo Zeong existed or not. If we were going to follow up Gundam UC, we’d have two scenarios to deal with. So we came up with this neat little solution: In the novel’s world, the Neo Zeong did exist, but it got destroyed by the Phenex. It’s a clear, badass boss character, and I’ve got to tip my hat to BANDAI SPIRITS for busting their chops to create that Neo Zeong model kit. That was no small feat.

――Fans who’ve experienced UC and Mobile Suit Gundam Thunderbolt have sky-high expectations for the quality of another Universal Century story.

Ogata: Let me tell you, creating a Universal Century Gundam is no walk in the park. We set the bar pretty damn high with UC, and there’s no going back now. And it’s not just because it’s Fukui’s work (laughs). But here’s the thing – each project has its own unique challenges when it comes to quality. NT might be set after UC, but it’s its own beast, not UC2. Expect it to have its own flavor.

Fukui: Visually, it might feel like the shift from the original Mobile Suit Gundam to Mobile Suit Zeta Gundam. Sure, some folks might have wanted to see Zeta in Yasuhiko’s style, but looking back, the new style fit the evolving story perfectly. I think you’ll get a similar feeling going from UC to NT.

Ogata: Universal Century works have always had this solid foundation laid by Tomino, Okawara, and Yasuhiko. But over the last decade, we’ve been tweaking that formula, pushing it in new directions. That’s how Gundam has managed to evolve in ways other franchises just can’t touch.

A NEW VISION OF THE UNIVERSAL CENTURY CRAFTED BY YOUNG TALENT

――One of the big changes from UC seems to be the influx of new creative talent in key staff positions. Can you tell us more about that?

Ogata: After UC, our team at Sunrise Studio 1 cut their teeth on Gundam Reconguista in G and Mobile Suit Gundam Thunderbolt. When we decided to tackle another Universal Century project, we consciously sought to bring in younger staff. Take a look at the NT crew – sure, we’ve got some UC veterans, but the younger staff are front and center. We’re not just pushing boundaries with the content; we’re shaking things up behind the scenes too.

――That philosophy seems evident in your choice of Shunichi Yoshizawa as a first-time director for this project.

Ogata: Yoshizawa’s got this perfect blend – he’s got Tomino’s DNA from working on G-Reco and Thunderbolt, but he can also capture that Universal Century atmosphere. His visual style and pacing feel very close to Tomino’s direction. He’s absorbed those creative instincts – for better or worse.

Fukui: Let’s stick with ‘for better’ (laughs). Since Yoshizawa has received direct guidance from Tomino, I think viewers will feel more of Tomino’s influence compared to UC. There’s this nostalgic quality to it.

Ogata: It’s an interesting contrast. Take Kazuhiro Furuhashi from UC – he’s got his own established style, influenced by Gundam but approaching it from a different angle. Yoshizawa, on the other hand, is getting real-time Tomino wisdom. It’s a whole different impression.

――Fukui, what stands out about your interactions with Yoshizawa?

Fukui: Most directors are all about rhythm, but scripts have their own beat too. It’s crucial that these rhythms sync up. Usually, directors treat the script like raw ingredients to cook up their own dish. But with Yoshizawa, it was like we were tuning our instruments together. He’s got smarts from his tough break into the industry, and he’s not your typical otaku. I strongly sense his cleverness and toughness, his desire to “aim higher” with this work. I’m confident he’ll achieve great success in the future.

――Another standout on the main staff seems to be character designer Sejoon Kim.

Ogata: Kim’s a graduate of Sunrise’s animation boot camp, and he’s long been in Gundam for years. We’ve always had our eye on him for a main Gundam gig. He’s already directed Mobile Suit Gundam Twilight AXIS, but NT was actually in motion before that. His ability to draw both young characters and older men was a significant factor.

Fukui: And let me tell you, his single-image layouts are pure genius. With the key visuals, we barely had to discuss anything – he just got the essence of the work instantly.

Ogata: You know, Kim might understand NT better than anyone. He’s done three key visuals for us, and each one nails the story perfectly. While Kumiko Takahashi laid the foundation for our main trio – Jona, Rita, and Michele – Kim breathed life into Zoltan and the rest of the cast.

CHARTING A COURSE FOR ALL GENERATIONS

――It’s unusual to see the main characters in their early 20s, as Gundam protagonists are typically teenagers. What led to this decision?

Fukui: Interestingly, this was a conscious effort to appeal to a younger demographic. UC was intended for adults like us to relive our childhood Gundam experiences, so a young protagonist was necessary. But with NT, considering the unexpectedly young fanbase UC attracted, we settled on an age range that 20 and 30-somethings could relate to. We want it to be a work that can be casually discussed, similar to how young people talk about TV dramas. Besides, it’s challenging to believably fit the “boy unexpectedly piloting a Gundam” trope into a 90-minute film (laughs).

Ogata: There are a couple of factors at play here. NT isn’t based on a TV series, and as Fukui mentioned, we’re eyeing the international market. Overseas fans aren’t just looking for coming-of-age stories; they want characters closer to their own age. Ultimately, we need to adapt our approach to meet contemporary needs, both in Japan and abroad, or risk the content becoming outdated. Gundam is evolving while embracing diversity.

――Zoltan seems to play a crucial role, almost rivaling the main characters in importance.

Ogata: Fukui really pushed for Zoltan to be this over-the-top, larger-than-life character.

Fukui: I was surprised by how over-the-top Kim’s initial rough sketches were (laughs). Zoltan’s design is deliberately exaggerated because he needs to reveal everything about himself within a single film. He needs to be this perfect foil for our main trio. He’s practically a walking symbol. We needed a design that screams his entire personality in one shot. In the story, he’s like this condensed ball of negativity, hell-bent on world revenge.

――In the main story, he’s described as a “failed product of the Char clone project.”

Fukui: While Full Frontal was the masterpiece of the clone project, there must have been many failures before him. Some might have shown promise but became unusable due to accidents during adjustment, others might have died. And then there were those like Zoltan, who make you wonder, “How is this supposed to be Char?” Zoltan doesn’t have a shred of Char-like qualities (laughs).

――Will the mecha in NT be hand-drawn like in UC, or will CG be the main method?

Ogata: Initially, we thought over half could be CG given the current era, but once we started, the production team actually requested more hand-drawing, which is causing some trouble. We had designed things like the Narrative Gundam’s A equipment with CG in mind (grimace).

Fukui: Honestly, it’s about time for mecha animation to center on CG, with current hand-drawn animators taking on more of an action director role. Gundam will still need weekly TV series, and hand-drawing is reaching its limits for that.

Ogata: True. Eventually, CG animators will likely develop the sensibilities and experience of hand-drawn animators. We’re certainly in that transitional phase now.

Fukui: The level of detail demanded for mecha is incredible – more lines than ever, insistence on cel shading, and so on.

Ogata: The dedication of hand-drawn animators has shaped Gundam’s history. However, we can’t just keep doing the same things as in UC – that would only make Gundam feel dated. We need to be unafraid to innovate our production flow. After all, “discarding the old and rebuilding” has always been Tomino’s Gundam approach. We want to keep that spirit alive.

Fukui: If you look back at Char’s Counterattack, you’ll see that it’s not truly Gundam unless it’s packed to the brim with content. It needs to have that “no time to relax” atmosphere (laughs).

Ogata: While knowing the Universal Century history enhances enjoyment, the story is structured to be accessible. It starts with the main trio witnessing the colony drop and follows their backgrounds, making it easy to understand what’s happening in the Universal Century world. This might actually be one of the more approachable entries in the Gundam series for newcomers.

RETURNING TO THEATRICAL RELEASE IN AN ERA OF VIEWING OPTIONS

――In today’s world of streaming and diverse media possibilities, NT is being released as a standalone theatrical film. What led to this decision?

Ogata: Looking back, UC popularized the event screening format, but we felt it was time to move on from that approach for Gundam. When we started UC, the OVA genre had already disappeared, so it was a new experiment. But that was eight years ago now.

――The media content viewing landscape has indeed changed dramatically in the last eight years.

Ogata: The business model has evolved significantly. I feel the meaning of watching a film in theaters has changed from before. There used to be a higher barrier, but now people are more inclined to casually go to theaters and value the experience. Considering this, we settled on a nationwide theatrical release, making it accessible everywhere.

Fukui: Ultimately, it’s about choosing the right platform. We initially considered streaming, which offers strong promotional potential but can lead to a prolonged period of streaming exclusivity. Surprisingly, being locked into “only available via streaming” can be disadvantageous. For non-subscribers, the title remains perpetually out of reach. There’s still a lingering expectation that “it’ll eventually air on TV,” which often leads people to postpone viewing. So we decided to go straight to theaters without any gimmicks.

Ogata: This doesn’t mean all future Gundam projects will be theater-based. We might return to event screenings or TV series. Who knows what things will look like in five years?

――It’s intriguing to consider that the era of event screenings might be ending, potentially giving way to a new age of nationwide theatrical releases.

Ogata: Viewing environments are shifting to a new era. We’ll continue to explore the most suitable distribution methods for the times.

――Viewing NT with its theatrical release in mind might reveal deeper meanings within the work.

Ogata: This time, everyone across the country has the chance to see it, so please enjoy this new Gundam experience in theaters. We’re planning various initiatives for Gundam’s 40th anniversary next year, so please look forward to that as well.

Fukui: This is probably the first standalone Gundam movie since F91. As such, it’s packed with an incredible amount of information, presented with overwhelming speed and density. It’s a work that should keep fans entertained until the next title is released, so please check it out. I suspect it’ll be impossible to absorb everything in one viewing, so I’d be delighted if people return to the theater multiple times.

Source:Mobile Suit Gundam Narrative Navigate Book
(Supplement to Gundam Ace, January 2019, No.197)