JETURK HEAVY MACHINERY: RESILIENT, PRAGMATIC, AND HIGH-POWER LIFE-RESPECTING DESIGNS

―――You primarily handle designs for Jeturk Heavy Machinery. Can you tell us how you came to be involved with them?

Gyoubu: Well, it was decided from the start that I’d be handling Jeturk. I remember being surprised at our first meeting when they pointed and said, “Your seat is over there.” You don’t usually get assigned seating at meetings, right? But then I saw the materials at my spot about Jeturk (back then, it was temporarily called “Heart”), and the list of orders was right there.

―――What was the concept behind Jeturk’s mobile suits?

Gyoubu: The initial order was for a model called the Dilanza, so I focused on prioritizing pilot survival, creating a sturdy, heavy-duty, high-output design. I knew from the start that it would be piloted by an ace, the son of one of the Big Three, so the character influenced my design. Guel’s influence comes through strongly, especially from the Darilbalde onwards.

―――And Jeturk’s continued to be inherited in subsequent designs?

Gyoubu: Yes, for the next-generation main model, I drew up the Darilbalde, featuring a decision-making extension AI for controlling drone weapons. This reflects the company’s stance quite well. Compared to the GUND format, which cuts life short, Jeturk felt like an antithesis or a legitimate evolution in weaponry. This competitive aspect of the model allowed us to express something of Jeturk’s ethos that the Dilanza alone couldn’t.

―――When designing, what motifs did you have in mind?

Gyoubu: Director Kobayashi always has very specific visions, so we get pretty detailed briefs. For Dilanza, it was “hard, strong, fairly fast.” This essentially became Jeturk’s overarching concept. The director is quite skilled at drawing, and rough sketches accompany every brief. With specific shapes already outlined, our challenge as designers was to determine how far we could expand on these concepts.

―――The Dilanza was a sort of foundational mobile suit, then?

Gyoubu: Absolutely. Guel’s Dilanza, utterly thrashed in the first episode, leading to the switch to the Darilbalde… that was in the brief, so it also had to showcase the concept of combat in the series. I designed its horns quite large to make it obvious in their “horn-locking” battles. But ironically, under these rules, it was at a disadvantage (laughs).

―――If the horns weren’t clearly visible, the concept of “taking them” would be lost, right?

Gyoubu: Exactly. “Just a slight break and it’s over” wouldn’t cut it. So, I aimed for a size that makes the breakage instantly noticeable. The mass-produced models have flag-like shapes, but for Guel’s suit, I imagined something like a trophy. The feathered ornament on the horns is quite symbolic. This was added later, on the director’s request, to enhance the first episode’s climax. When you see it in the actual episode, it’s clear that the design with the added action was put to good use, and I was really grateful for that.

―――And it made a comeback in Season 2, which was unexpected. Its presence became even more memorable.

Gyoubu: Right, in episode 22, it reappears without its feather ornaments. Symbolic of Guel’s growth, I’d say.

―――The Dilanza seems well-received by fans, alongside Guel’s story.

Gyoubu: I frequently check social media and noticed that until around episode 5, it was somewhat of a running joke (laughs). But as it linked with the show’s direction, I think fans enjoyed it. It ended up being quite a beloved model.

―――In all these specific orders, what were your personal touches?

Gyoubu: Well, even though Guel’s Dilanza had a flashy concept, the premise was that it would be the base for mass production units and military-use machines, so I created a shared mounting section for the shields, making it so just changing the shield would completely change the appearance.

―――The Darilbalde also had a very Jeturk-esque portrayal.

Gyoubu: The director’s brief for the Darilbalde specified an “AI-controlled shield with integrated offense and defense and six arms.” The design evolved from a rival model I had submitted in the initial competition. Later, it reappears with additional weaponry, linking its development to the already submitted Gundam Schwarzette.

THE EVOLVING ROLE OF THE SCHWARZETTE

―――How did you approach designing the Schwarzette?

Gyoubu: Once I started, it took about three months until the Schwarzette design was finalized. The order from the director was “a giant sword that splits into bits and mounts on the body, with the hilt serving as a separate sword.”

―――That’s quite specific.

Gyoubu: The base was a Gundam I sketched for the competition. I went ahead and submitted drawings for a second and third Gundam, and the second became the base. It originally held a long sword, so we progressed from that rough sketch.

―――Did you also consider the character traits of the pilot, Lauda?

Gyoubu: No. Initially, the Schwarzette was designed with Guel in mind. The order was the Dilanza, Darilbalde, and finally switching to a Gundam. Since it was considered to be Guel’s, it was red. I was excited about whether he’d turn ally or go dark, adding tons of gimmicks for dramatic moments.

―――The main Gundam design is relatively simple.

Gyoubu: I wanted a “simple machine” as the “ultimate evolution of a Gundam.” On the one hand, the Gundam has an unadorned, almost bare-bones look, while on the other, I aimed for a design where its vibe could be dramatically transformed through over-the-top gimmicks.

―――So, a Gundam made by Jeturk, which has been opposing the GUND format, is quite a deviation in the development lineage.

Gyoubu: Exactly. The GUND-equipped Schwarzette is the anomaly. Jeturk prioritizes pilot survival, so integrating GUND, which endangers life, is irregular. There’s a prototype-like machine briefly in the show, bridging the gap to the Schwarzette. Had Vim survived, Lauda might have tested the Prototype Schwarzette. It’s composed of reused parts from the Darilbalde. I’ve even drawn a full design for it.

―――We’d definitely love to see that.

Gyoubu: Personally, I feel the GUND format amplifies and distorts the pilot’s emotions. Lauda’s piloting dramatically showcased Schwarzette’s gimmicks. The way the Gundams are depicted as almost godlike at the end was very impactful.

―――Meanwhile, Guel not piloting a Gundam seemed to cement his policy.

Gyoubu: Yes. Guel’s character arc expanded significantly, shedding light on the role of the GUND format. The idea emerged to position him as a super pilot who doesn’t pilot a Gundam. As an antithesis to the GUND format, Guel fit perfectly.

―――How did you feel about this change?

Gyoubu: Initially, I thought piloting a Gundam would be Guel’s grand finale. But as his role evolved, he moved beyond the framework of a mere rival to emerge as a more memorable character. Still, I hope the red Schwarzette sees the light of day (laughs).

―――It seems that Director Kobayashi considers the specific mechanics of the show when giving design orders.

Gyoubu: Not just the director, but the entire staff sticks to their guns (laughs). They don’t give up on character or mecha depictions. They don’t just decide and move on. This might be the director’s style, but things take shape as they are created. When all the ingredients for the anime come together, they are thoroughly refined and repositioned for convincing, robust storytelling. I felt that finesse at organization was wonderful. Guel, initially just a rival, wasn’t meant to bear a significant burden, but he ultimately became indispensable to the story.

―――Mecha is integral to the narrative, wouldn’t you say?

Gyoubu: Because they incorporate the suits in situations intertwining with plot developments, I really get the sense they’ve become a part of the characters’ lives and elements of their growth. Being led by the director’s style and seeing him having our mecha used so impressively is a designer’s dream.

―――Thank you for your time today.