SPECIAL FEATURE: 40 YEARS OF MOBILE SUITS
The Environment Surrounding Gunpla and Changing Times

A Conversation with BANDAI SPIRITS

Interviewees: Hirofumi Kishiyama and Yoshihiro Kano from BANDAI SPIRITS Hobby Division

It’s been 39 years since Gunpla first hit the shelves. From the explosive “Gunpla Boom” of the early 1980s to now, we’ve seen various approaches come and go. Today, Gunpla stands as a global phenomenon, continually expanding into markets worldwide. But what struggles lay between those early setbacks and the glory we see today?

FROM GUNPLA’S BIRTH TO ITS TURNING POINT

――The trajectory from the 1980s “Gunpla Boom” to now seems to have solidified Gunpla as a lasting business rather than a fleeting trend. What was the landscape like after that initial boom?

Kano: Around the late ’80s to early ’90s, we were still moving units. But the variety was limited.

Kishiyama: Keep in mind, prices have tripled since then. We can’t just compare raw numbers… After the boom, SD Gundam – specifically the BB Senshi line – really carried the torch for a while. Things were tough up until Mobile Suit V Gundam, but ironically, BB Senshi was thriving during that same period. BB Senshi genuinely offered an engaging model-building experience. The late ’80s saw a deformed character boom with shows like Mashin Hero Wataru and Madō King Granzort. Kids who grew up with those found SD designs more ‘normal’ than realistic ones.

――Were the hardcore “realism” fans mainly those who’d stuck around since the initial boom?

Kishiyama: Precisely. The market for what we called “realistic” standard-sized models was primarily long-time enthusiasts. Whether they’d move on or stick with the hobby was a critical question back then. Many ended up staying, starting families, having kids… That’s how we’ve arrived at our current two-generation fanbase. Interestingly, children influenced by their parents often gravitate towards their fathers’ favorites – Universal Century storylines and more realistic designs. In that sense, the 1990 High Grade revival series was a game-changer.

――That revival was undoubtedly a pivotal moment in Gunpla history.

Kishiyama: The first four High Grade kits – Gundam, Gundam Mk-II, Zeta, and ZZ – were purely driven by a desire to revisit Gundam. But realizing that revivals could be profitable was enlightening. Our mistake, however, was limiting ourselves to just Gundam. We inadvertently stunted potential growth there. That’s why when we conceptualized the Master Grade line, we broke free from the Gundam-only mindset. We wanted to do the Zaku, so we made Gundam to pair with it.

――Revivals have clearly become a mainstay now.

Kishiyama: Revamping the Master Grade and High Grade lines, using revivals to maintain interest – that’s what bridged the gap between long-time fans and the next generation they influenced. Without that, we might have seen a steady decline. The early ’90s zeitgeist wasn’t about delving deeper into the One Year War, but rather expanding the Universal Century timeline. That’s how we ended up with Mobile Suit Gundam F91 and Mobile Suit V Gundam. But if you ask whether everyone was thrilled about that… well, maybe it was too soon.

A COLLABORATIVE RELATIONSHIP, NOT JUST REQUESTS AND DEMANDS

――Today, there’s an incredibly close relationship between anime production and Gunpla design. What was the situation like back then?

Kano: It wasn’t nearly as integrated as it is now. I remember during the V Gundam presentation, they told us, “This time, Gundam’s weapons will change like in an RPG.” But when we watched the show, that concept never really materialized. That’s when we realized how challenging it is to control design elements within the constraints of anime production.

Kishiyama: The creative team had clear ideas. For instance, they’d say, “This time, the Core Fighter is key – it’s integrated with the head unit, which houses the computer.” The Core Fighter was conceptualized as both an escape vehicle for the pilot and a way to retrieve the computer. However, we were mostly just following their lead. There wasn’t much of that creative back-and-forth where we’d suggest, “This could be more interesting if we did it this way” or “We could make this possible.”

Kano: Things started to shift with Mobile Fighter G Gundam, didn’t they?

Kishiyama: Indeed. Though I nearly fainted when I first heard the concept (laughs).

Kano: Initially, it was even more sports-oriented, if I recall.

Kishiyama: It was essentially a martial arts tournament in the Gundam universe (laughs). It was probably the concept furthest removed from what people imagined Gundam to be. We industry folks were more shocked than the fans when we first heard it. But I think it actually energized the anime staff, challenging them to figure out how to make it work.
Kano: The turning point in our relationship was probably Hajime Katoki’s design for Master Gundam’s cape, wasn’t it?

Kishiyama: Katoki provided us with sketches that approached the cape’s structure from a model kit perspective. Remember, we didn’t have 3D modeling back then, so visualizing how things would work was challenging. We’d prototype based on Katoki’s drawings, then report back saying, “It’ll work if we follow these rules.” As this back-and-forth intensified, we started visiting the studio more frequently. The staff there were thrilled to see their designs become tangible objects. That shared excitement really brought us closer. Especially with later designs, we’d incorporate playful gimmicks, show them off at the studio, and sometimes they’d even make it into the anime. The 1/60 God Gundam is a prime example – we designed interconnected gimmicks like expandable calves revealing internal nozzles, which were then featured in the show.

――Breaking away from the Universal Century timeline really expanded the creative possibilities, didn’t it?

Kishiyama: These days we have shows like Gundam Build Fighters, but decades ago, depicting such playful elements would have been met with outrage. There used to be very rigid ideas about what Gundam “should be.” But G Gundam successfully incorporated almost Super Robot-like elements, such as extending arms, which would have been unthinkable in a “realistic” Gundam series. Then Gundam Wing came along with Shenlong Gundam, presenting a slightly more grounded take on similar concepts. I believe this progression nurtured the idea that presenting these outlandish concepts in a serious, realistic manner could actually be quite cool.

THE SUCCESS OF REVIVALS EVOLVES INTO MG AND PG LINES

――The Master Grade (MG) line also launched in 1995.

Kano: The MG line synced perfectly with the growing acceptance of revivals.

Kishiyama: It was quite a sight – salarymen lining up at model shops on release days.

Kano: When we ran ads on the back covers of major manga magazines, the response was substantial. That’s why we quickly moved to release the Zaku as well.

Kishiyama: The decision to swiftly produce the High Mobility Type Zaku II was rather surprising (laughs). But it made sense – we were targeting consumers with disposable income.

――From a fan’s perspective, it felt like there was rapid technological advancement from the mid-90s to around 2002.

Kano: We had no choice but to advance. Both our machinery and design philosophy were evolving. The early MG kits saw visible technological leaps.

Kishiyama: The Perfect Grade (PG) line was a real turning point. It made us focus on the internals, considering how to maximize detail within tight confines.

Kano: Back then, we thought it was impossible to sustain such complex projects one after another (laughs). The PG Zaku, for instance, was produced under intense time pressure. The idea of turning PG into a series seemed outlandish.

Kishiyama: But the MG line’s success changed our brand consciousness. Initially, we had no guarantee MG would continue. Its unexpected longevity shaped our approach. When we first presented the Real Grade (RG) line as a commemorative project, we were scolded (laughs). Given MG’s success, we were told to plan for continuity from the start.

――The production scale must have been vastly different then compared to now, right?

Kishiyama: Back then, our design resources allowed for one PG and maybe two MG kits per year. We only had one or two designers capable of PG-level work. Now, we have nearly 30 designers, with over half experienced in MG designs.

――This period also saw a rise in price points, with PG as the flagship.

Kishiyama: We initially planned PG kits at 10,000 yen. Our mindset was shifting from “what price do we need to sell at” to “what value can we provide?” Looking back, the design phase for the first PG Gundam was incredibly long – several times longer than our current standard. And we were developing the Zaku in parallel.

――The Zaku was released just four months after the Gundam, wasn’t it?

Kishiyama: Yes, and while they were developed in parallel, the Zaku benefited greatly from our Gundam experience. It also helped that the Zaku was a familiar design. We actually ended up working more efficiently on the Zaku.

Kano: With the PG Gundam, even with our Evangelion Unit-01 experience, we were navigating uncharted territory. That naturally took more time.

Kishiyama: Honestly, I was worried about the Zaku outshining the Gundam. We consciously designed it with a slightly older aesthetic in mind.

――But that approach seems to have been correct for the time. The MG and PG lines firmly established Gunpla as a high-end collectible brand.

A TWO-PRONGED APPROACH: NEW TV SERIES AND REVIVALS

――In 2002, Mobile Suit Gundam SEED launched as a new TV series. Many have testified in our magazine that this was a “must-win battle” for Sunrise.

Kano: Sunrise certainly approached it with that level of determination. We had extensive discussions with Director Fukuda. After the original Gundam, with the publishing rights moving to Kadokawa, there was a lot of consideration about how to approach Gundam going forward. This translated into a burning desire for success. We even had Aya Ueto starring in Gunpla commercials – that shows the level of effort invested.

――It felt like a sudden leap in sophistication at the time.

Kano: The company’s strategy was to maximize mainstream exposure. We were aiming for a major commercial push. With fewer products than we have now, our planning was incredibly meticulous. We had a tight schedule of which Gunpla to release each week, with Ueto promoting them in commercials. We even aimed to sell a million 300-yen Strike Gundams! That kind of production volume requires 24/7 operation – it was a massive undertaking.

Kishiyama: To put it in perspective, selling a million units a year during the original Gundam boom was extraordinary. Models like the Musha Gundam Mk-II were selling similar numbers. Even for cheaper BB Senshi kits, hitting that million mark annually is impressive.

Kano: With SEED, we were extremely particular about retail displays. We put tremendous effort into production and distribution. Of course, this all hinges on having a great show that becomes a hit.

――Having a Hobby Division member stationed at Sunrise during SEED’s production seems to have strengthened the connection.

Kano: Yes, I believe Shigeru Horiguchi requested someone with hands-on Gunpla experience. Design was challenging, and we needed to develop the Astray line pre-broadcast. Post-SEED, we switched to regular visits rather than permanent placement. Now, with Gundam series so diverse, it’s impossible for one person to handle everything.

Kishiyama: Our stance remains: “If it’s possible in model form, we should make it happen.” We’re not dictating designs, but rather supporting what’s feasible.

Kano: Often, it’s up to the Hobby Division to verify what’s actually possible. We’ll get questions like “Can this transform?” or “Will this work as a product?”

Kishiyama: Right. For instance, with the MG Unicorn Gundam, part of our job was verifying the transformation. For another series, we prototyped to check if all the carrier-based machines could fit in a round turret. We support each other in our respective areas of expertise. This track record makes it easier for them to consult us.

――Back in Tomino’s era, there was a perception among fans that toy makers were “the bad guys” and that creators shouldn’t cave to their demands. In hindsight, that seems like Tomino’s showmanship, but the sentiment lingers.

Kano: With some thought, it’s clear that’s not the case. We’d rather let our products speak for themselves.

Kishiyama: We’ve learned not to be too pushy with suggestions. During Gundam 0083, we requested a rival mobile suit for the Stamen since Dendrobium was too large to produce. That didn’t work out well for anyone.

Kano: You need to build a foundation for collaboration. One-sided requests rarely yield good results.

Kishiyama: Exactly. Particularly with Cima, we regret not keeping her in the Gelgoog M. Requests alone aren’t enough – you need to convey enthusiasm and vision. It’s not just about quantity or screen time. You need to create something that excites the anime staff, something they want to showcase. Our experience with G Gundam years later was invaluable in this regard.

――The Gelgoog seems particularly unlucky, doesn’t it?

Kishiyama: The Gelgoog was ill-fated from the start. Despite numerous kit releases, none have been major hits. It’s rarely shown in a positive light in the anime. Reflecting on its origins, I think the strong impression is that even with Char piloting, it couldn’t match the Gundam. It became a symbol of “superior specs can’t guarantee victory,” which set it up for minimal success in the shows from the beginning.

GLOBAL EXPANSION BRINGS EVOLUTION AND CHANGE

――Recently, there’s been news about the new “Bandai Hobby Center Annex.” Can you tell us more?

Kishiyama: As we’re expanding our sales networks, including in America, we’re increasing capacity in anticipation of future growth. The new building will add six multi-color molding machines. We’re also transitioning from hydraulic to electric machines, relocating the old hydraulic ones to other factories. Modern kits often have multiple color runners, and we’re still producing older designs. Multi-color molding is crucial – if it becomes a bottleneck, it could halt production entirely. So increasing these machines is a natural step.

――Is overseas demand also increasing?

Kano: While domestic demand hasn’t changed dramatically in terms of units, the growth is indeed coming from overseas markets.

Kishiyama: Looking ahead, our current Hobby Center alone can’t support the increased production capacity we need. We’re also pursuing local production and sales initiatives. For instance, the SD Gundam World Sangoku Soketsuden series is produced in China for international markets, with only some units imported to Japan.

――That seems like a new approach.

Kishiyama: It’s not that all Gunpla are universally accepted yet. With Sangoku Soketsuden, we’re leveraging the appeal of its characters and SD Gundam style, adding the model kit format to create a viable product. As model kit culture takes root in China and Gunpla becomes established, interest might expand to other series.

――Is it becoming necessary to establish overseas bases?

Kishiyama: As we pursue new initiatives, we have to consider whether Japanese factories alone, already near capacity, can cover everything. It’s becoming more realistic to improve technical and quality standards in China, produce there, and use that to cover the Asian market. Considering our ability to respond if Gunpla spreads further globally, we need to strengthen both local production and Japanese production bases in parallel.

Kano: Sangoku Soketsuden is indeed a test case. The Asian market, not just China, is our largest overseas market. In total numbers, it may soon overtake Japan.

Kishiyama: The model kit industry has developed over 50 years in a small area of Shizuoka. This region is so specialized in model kit production that it’s far cheaper to produce here than in unfamiliar areas. Model kits are essentially just plastic parts in bags and boxes – the lack of assembly or painting labor costs is a huge factor. We can’t produce fully assembled, painted products in Japan, but with model kits, we’re entrusting that part to customers. This makes model kits one of the few products where we can compete globally.

――The meaning of “Made in Japan” might be questioned.

Kishiyama: It’s quite remarkable that you can randomly pull runners from our production line and they’ll all assemble correctly. While Japanese users take this for granted, it’ll take time for the rest of the world to reach this level.

Kano: The rapid advancement of 3D printing technology is a concern. We can’t deny the possibility of being caught up quickly.

――Considering global expansion, the nature of Gunpla might change significantly in the future.

Kishiyama: In Japan, we have an established system of bagging runners, boxing them, and completing the process. This isn’t yet achievable at our Chinese production sites. Previously, China relied on manpower for this, but rising labor costs have made that impossible. We’re now at the stage of determining if we can lower costs through domestic-scale equipment investment. The Gunpla landscape could change dramatically in the future.

Source: Great Mechanics G Autumn 2019 (pages 041-045)