MOBILE SUIT GUNDAM THE WITCH FROM MERCURY VOL.4
SPECIAL BOOKLET
STAFF INTERVIEW: Takayuki Yanase (Mechanical Design)

In Episode 10 of Season 1, the Gundam Lfrith Ur and Gundam Lfrith Thorn suddenly appear, becoming the catalyst for a war rather than a duel. The mind behind these two suits’ designs is none other than Takayuki Yanase, who has been involved in other Gundam series as a mechanical designer for many years. Here, Yanase tells us about the various designs that were born from his exchanges with Director Kobayashi, including the Ur and Thorn.

―――First, please tell us how you got involved in the project.

Yanase: I got involved in the competition to design the protagonist’s suit. It had already been decided that the protagonist would be female, which I thought was a pretty bold move. However, the worldview and concept art depicted in the proposal I received was incredibly well done, so my first impression was that it would definitely be interesting.

―――After the competition, when did you actually start working on the project?

Yanase: I started quite late. Not only was the Aerial already finished, but the designs for the three branches’ mobile suits were already finalized. At that point, I was asked to work on the designs for the Earth-side Gundam and various other design works. As such, since I joined later than the other mechanical designers, I wasn’t involved in face-to-face meetings.

―――So, you joined during the COVID-19 pandemic, is that right?

Yanase: Yes, that’s right. I joined in the thick of the pandemic. In fact, I just met Director Kobayashi face-to-face for the first time the other day (laughs). Up until then, we had been communicating remotely for over a year.

―――The first designs you worked on were the Gundam Lfrith Ur and Gundam Lfrith Thorn?

Yanase: No, that’s not right. The first design I worked on was for the Gundvolva.

―――That’s a suit that appears in Season 2, correct?

Yanase: Yes, it is. The concept was a “mobile suit GUN-BIT using the Lfrith Frame.

―――So, you designed the Ur and Thorn after that.

Yanase: Like the Gundvolva, the concept for the Ur and Thorn was a twin machine using the Lfrith Frame. It had already been decided that these machines, belonging to Earth’s anti-Spacian organization (Dawn of Fold), would be piloted by women. However, while the Gundvolva has an image similar to the Lfrith prototype, I was asked by Director Kobayashi to change the design lines of the Ur and Thorn enough to make them look like suits from another manufacturer.

―――So, they’re disguised in a way.

Yanase: Yes, something like that. Another thing is, since these suits are used by mercenaries, I was asked to design them as military weapons, not flashy duel-use designs. To comply with this request, I suggested distinguishing the armaments, proposing one type equipped with a Gatling gun and another with a large-scale beam cannon.

―――What kind of attention to detail did you put into the designs?

Yanase: Well, initially, the designs of the ‘tag team’ mechs were largely identical, aside from certain parts and the color schemes. But then, I was told, ‘I’d like more differentiation.’ There was also a request for them to have a bit of an otherworldly feel. So, Ur became bulkier, and Thorn shrank. Originally, Thorn was even smaller, with the size difference between it and Ur akin to an adult and a child. However, I felt that this might dilute the mobile suit vibe, so I decided to shift the form instead.

―――So, Director Kobayashi had a rather distinct vision?

Yanase: Yes, he provided quite precise directions. His unwavering vision meant I rarely had issues in terms of design. The design of Aerial differs quite a bit from traditional Gundam, so for Ur and Thorn, I aimed for a design with a stronger ‘Gundam feel.’ Even in the initial rough stages, some sketches had variations that resembled the original Gundam (RX-78-2) quite a lot.

―――You also designed the Zvalvi, which appears in the first episode of Season 2?

Yanase: Ah, I had quite a bit of fun with that one (laughs). It was confirmed early on that a mobile suit designed by Kanetake Ebikawa would appear in the first battle, so I was allowed to draw a few different designs. The director reviewed them, and the Zvalvi was the one chosen.

―――Aside from mobile suits, you also designed the Lfrith’s cockpit.

Yanase: The cockpit for Aerial already existed, so I designed Lfrith’s cockpit based on that. The ‘PROLOGUE’ design was the main focus, then there were the normal suits worn by the Benerit Group members.

―――It seems you’ve done quite a lot of character and artistic design. You even designed Prospera’s mask?

Yanase: Designing a mask for a Gundam series is a big job. It was nerve-wracking (laughs). I only worked on the front of the mask. I started with about eight designs and gradually narrowed it down to the final one. I even assembled a 3D model to help visualize its shape.

―――Did the director convey an image for you to follow there too?

Yanase: “Yes, he did. The concept was essentially a medical device designed to assist Prospera’s body. Initially, there was a mask similar to Char’s in the drafts, but I was asked to make it more inorganic. I had also drawn quite a lot of eye patterns.

―――You’ve also done designs for things like the cargo ship’s bridge and the school hangar?

Yanase: The school hangar was based on the Earth House hangar designed by Ebikawa, with some adjustments to meet the request of ‘We want to show a row of Demi Trainers.’ I created the design, did some rough modeling, then updated the design. After that, the 3D team refined the model, which was used in the layout.

―――Do you go as far as modeling in 3D for your work?

Yanase: Yes, I do go that far. Since there were more scenes involving 3D in the show, I thought it would be convenient for the team if I created the models. And there are also cases where I draw based on the 3D models.

―――Could you tell us about your interactions with the mecha designers for this project?

Yanase: This might seem a bit off-topic, but I actually worked alongside JNTHED during Metal Gear Solid 4. At that time, we never had the chance to meet face-to-face, but this time around, we finally had the opportunity to talk. Inata (Wataru) joined FromSoftware after I had left, and later on, I participated in the production of Xenosaga II at Monolith Soft, to which Inata followed and joined for Xenosaga III – it’s quite the tale, isn’t it? (laughs)

―――So, you two have walked similar career paths.

Yanase: Yes, which is why I was surprised and delighted to meet here in this setting. I had worked with Gyoubu (Ippei) on the Gundam Build series and with both Ebikawa and Teraoka (Kenji) since Gundam 00. I feel a certain kinship with all the designers (laughs).

―――You’ve all shared and collaborated on designs. Have any parts particularly influenced you?

Yanase: JNTHED’s Aerial was a completely new design, which was quite stimulating. Making it work as a Gundam with those design lines and making it look cool was refreshing. Particularly, I put a lot of effort into studying the design of the Shell Unit to incorporate it. Inata has always been good at weapon designs, so that characteristic is reflected in Pharact, which I find fascinating.

―――Can you share your impressions after viewing Season 1?

Yanase: The intensity crammed into one cour is impressive, isn’t it? The visuals and storytelling were different from previous Gundam series but held their own, and it was well done. The concept of duels, as a form of mecha representation, was new and I believe was well-received by the audience. There have been battles without war in the past, like in the Gundam Build series, but creating the “PROLOGUE” really made a difference. There are gruesome battles revolving around Gundam, which forms the backbone of the worldview, so viewers may feel that something more than a duel might happen, which adds a thrilling aspect. The duel, initiated by the Ur and Thorn, may have been something viewers were looking forward to, so I feel a little sorry for them (laughs).

―――The destruction of Plant Quetta felt very Gundam-esque.

Yanase: Actually, I also designed Plant Quetta. I had quite a bit of back-and-forth with Director Kobayashi about the structure and layout, down to the width of the passageways and its spaciousness. It was a precise process for creating layouts. For example, I designed the passageway in the final scene of Season 1, where Sletta rescues Mioline. It’s designed to accommodate Aerial in a kneeling position.

―――So you’re designing detailed settings to match the production.

Yanase: Yes. The show is a work that does not compromise on these details. So, I believe that not just us, but also the team that converts our work into 3D, has put in considerable effort.

―――Are there any hints you can give us for re-watching episodes 10 to 12, which will be included in vol.4?

Yanase: The latter part of Season 1 is filled with unsettling and terrifying content, but it sets the stage for Season 2. If you pay close attention, you might find hints that lead to future developments.

―――Are there any new insights or directions you gained from working on this project?

Yanase: The importance of aligning with the direction. By thoroughly understanding how the script would be used during the rough stages, I was able to avoid inconsistencies in the design phase to some extent. In addition, the director provided detailed checks considering the animation’s labor consumption. I was reminded again how important it is to pursue designs that are easy to animate.