MOBILE SUIT GUNDAM THE WITCH FROM MERCURY VOL.2
SPECIAL BOOKLET
STAFF INTERVIEW: Wataru Inata (Mechanical Design)

Mechanical designer and illustrator Wataru Inata was responsible for creating the Gundam Pharact, prepared for Elan Ceres (Enhanced Human No. 4), as well as other mobile suits from the Peil Corporation. We asked him about his thoughts and considerations when designing the Gundam Pharact, a different type of Gundam compared to the Aerial, and his work on other mobile suits from the Peil Corporation.

――― Tell us how you came to be involved in this project.

Inata: Producer Okamoto (Takuya) personally offered me the opportunity, and that’s how I came to participate.

―――　What was your impression of the world of “The Witch from Mercury” when you first encountered it?

Inata:  I was initially surprised that the protagonist was a girl, which I found quite exciting. I had the impression from the beginning that this would be interesting.

――― How did the design process progress?

Inata: When I joined as a designer, the designs for Aerial and Lfrith were already complete, and Kanetake Ebikawa’s Beguir-Beu was in its final stages. The first order I received was for the Pharact, with concepts like a Gundam, a Bit user, a one-off model, and a high-mobility type already decided. So I started by translating those concepts into the design.

――― So, the initial order was more about solidifying The Pharact’s design than designing the entire mechanics of the Peil Company.

Inata: Yes. However, in the world of “The Witch from Mercury,” there are several companies that manufacture mobile suits, and it was already decided that each company would have a designated designer. So, I knew I would inevitably be responsible for designing Peil’s mobile suits.

――― As a Gundam, the Pharact falls into the same category as the Aerial, which was designed by JNTHED. How did you interpret and work with the concept of a Gundam during your design process?

Inata: In the show, Gundams (=GUND-ARM) are machines that use the “GUND Format.” The reason they are called GUND-ARM is because they have glowing parts called Shell Units, which are featured around the thrusters, bits, and head. I was given an order to use these as common elements in the design. However, in terms of styling and color, since it’s a mobile suit built with a different philosophy from the Aerial, I proceeded with the design assuming it could be completely different.

――― So, there was no need to make it resemble Aerial.

Inata: That’s correct. Although it’s a Gundam, Director Kobayashi ordered that it could look unlike a mobile suit in the end.

――― As for the large rifle, was its weapon configuration decided from the beginning? 

Inata: The Director had a clear vision, saying, “I want it to be equipped with a large rifle and primarily use long-range tactics.” I added my own ideas and flair to it from there.

――― Were the folding leg structure and the beam saber storage in the wrists your ideas?

Inata: Not all of them were mine, but I received ideas from the director while working on the design. For example, I suggested the mechanism to store the beam saber within the arm. Since it’s a long-range specialized machine, I thought it would hint at the fact that close-range combat is not the primary focus. On the other hand, for the Pharact, the GUND format’s advanced inertial control system negates the need to use the legs for posture control. The director had the idea of using that as a weapon. The folding structure for the toes and heels was my idea, and we refined the final design through mutual exchange.

――― In addition to the Pharact, you designed Peil Corporation’s mobile suits such as Zowort. Is there a particular concept or theme for these designs?

Inata: I primarily aimed to incorporate common details with the Pharact, making it instantly recognizable as a Peil Corporation mobile suit. However, simply removing the Pharact’s features would make it appear weak, so for the Zowort, I added a unique silhouette by enlarging the backpack on its back.

――― Was the Zowort’s sub-flight system, “Tickbalang,” also determined at the design order stage? 

Inata: Yes, I was responsible for designing Tickbalang as well.

――― I heard that you and the other mecha designers held joint meetings once a week. Did any designs from other mobile suits influence your work?

Inata: It was truly a learning experience. This was my first time working on a mecha project where the 2D artwork and plastic models were decided upon beforehand. When designing, I had to balance between intricate detail and simplicity. Moreover, even if we had an idea for a weapon, we had to consider how it would be held when turned into a model. For the Pharact, the GUND-BIT is mounted over the shoulder from behind. The design was actually inspired by the mechanism of the Double O-Riser from “Mobile Suit Gundam 00,” designed by Ebikawa.

――― Was there anything unique about the design process for the show?

Inata: From the order stage, Director Kobayashi had a clear concept, but as long as we adhered to it, we had considerable freedom in our work. It was so liberating that I wondered, “Can I really be this free?” (laughs). Being able to incorporate my ideas kept my motivation high.

――― A project that allowed for a high degree of creative freedom.

Inata: Despite that, when you line up the mobile suits designed by people like Gyoubu, Ebikawa, and Yanase, each has its own distinct identity. I think this is because Director Kobayashi provided a solid initial concept, and the designers successfully incorporated their own ideas. Rather than designing with a mindset of “Let’s make mobile suits look new and different!” considering it’s a Gundam series, I believe the final designs ended up fresh and innovative as a result of following the given concept.

―――　Although the mechs are used for school duels, their design wasn’t heavily influenced by this aspect, correct?

Inata: Of course, there was a rule that mechs for dueling needed horns. Additionally, since there is no Minovsky particle-like setting, it was necessary to place the thrusters for use under gravity in a position that corresponds to the real world.

―――　Were there any designs created aside from the Pharact and Zowort?

Inata: I did several art settings for the “PROLOGUE,” as well as designing the school ship of the Peil Corporation. After leaving the school, Guel works on a transport ship, which I also designed.

―――　Please share your thoughts on Season 1.

Inata: I had seen the screenplay and storyboard beforehand, and I enjoyed the serious developments toward the end. Since it is Gundam, it might become even more serious in the future… I’m looking forward to seeing what kind of story unfolds. Moreover, I felt the show has a strong, compelling visual style in each episode. It’s like a weekly manga, where you can’t help but think, “What will happen next?” I was constantly impressed by the intricate narrative structure.

―――　What did you think of the movements and direction of the mecha you designed, like the Pharact and Zowort?

Inata: It was my first time seeing something I designed moving in 2D animation, and I was truly delighted. Seeing them in action on screen, the Pharact’s power was portrayed in accordance with Elan’s heightened emotions, leaving a strong impression of it being a terrifying machine. Personally, I was moved when the manipulator rotated 180 degrees to pull out the grip for the beam saber stored in the arm.

―――　Was that gimmick a reflection of your idea?

Inata: No, when I designed it, I assumed it would be pulled out in the same manner as a human movement. I believe the director added the idea of making it the shortest possible movement for a mobile suit mecha. I was surprised and deeply touched as a designer.

―――　Is work on Season 2 currently underway?

Inata: There is still some ongoing work, but the major parts are done. I’ve done about as much work as I did for Season 1, so I think you can expect to see more of my designs.

―――　Did participating in the show lead to any new discoveries or changes in your perspective as a designer?

Inata: When you’re involved in a large-scale project like this, your designs and settings go through animators and Gunpla staff, and only then do they finally become completed anime or Gunpla. As a designer, I realized that I was just a part of that process. It was a different perspective compared to when I was designing for games, and feeling that flow directly connected to my motivation.

――― By the way, you illustrated the digi-jacket for vol.2’s Blu-ray.

Inata: Yes, I submitted two rough pose sketches, and after one was selected, I was given the freedom to draw it. I wanted to capture the fear that the Pharact’s GUND-BIT holds. Coincidentally, episodes 5 and 6 included in vol.2 feature the Pharact’s duel and various hidden gimmicks used during the battle. I think paying attention to these aspects when rewatching will make it even more enjoyable.