WELCOME TO THE MECHANICAL OFFICE

Kunio Okawara, the mastermind behind Gundam’s iconic designs, is a true pioneer in the world of anime mecha design. Today, we’re visiting his mechanical office to uncover the birth of legendary mecha like the Gundam and Zaku.

――Mr. Okawara, fans are buzzing with excitement about your collaboration with Mr. Yasuhiko on the new Gundam project. What can you tell us about it?

Okawara: Even though I’m talking about the setting material, Yasuhiko’s taking the lead on this one. Whatever appears in his manga is the official version. I wasn’t even planning to show my design notes – that’s how much I trust his vision.

――Speaking of which, what were your thoughts on Yasuhiko’s manga?

Okawara: It was a stark reminder of Yasuhiko’s brilliance. The man’s a genius, plain and simple. You won’t find another manga artist with his level of skill. His talent is otherworldly – his static drawings seem to come alive on the page. It’s almost unfair! (laughs) As someone without an animation background, even nailing a single pose in an illustration is a challenge for me.

――When did you first discuss this project with Mr. Yasuhiko?

Okawara: About a year ago, I was called to the hospital where Yasuhiko was staying. He had already sketched out rough drafts of the Gundam and Zaku locked in battle. I used those as a foundation for the final designs. You can really see Yasuhiko’s love for tanks shine through in the Guntank design.

――With Gundam now spanning two generations of fans, parents and kids alike, let’s take a trip down memory lane. Could you share your early days as a mecha designer pioneer and the atmosphere during the original series’ broadcast? You started when you joined Tatsunoko Productions, didn’t you?

Okawara: Yes, it all started when I joined Tatsunoko Productions in April. By October, we were already airing Science Ninja Team Gatchaman (1972). I was assigned to the art department under Mitsuki Nakamura. After just a week of background practice, he asked if I wanted to try mecha design. Before I knew it, I had become a mecha designer without really understanding the anime industry. I was learning on the fly, mostly by observing Nakamura’s work.

――In Gatchaman, you were credited for mecha design right after Nakamura, weren’t you?

Okawara: Yes, it was like passing the baton from Nakamura to me. I was working on small props from the very first episode. Directors would bring storyboards, circling areas where they needed designs. Being a sci-fi show, even the smallest items like watches or screwdrivers needed custom designs if they appeared in even a single cut. It was quite the learning experience, working on such a variety of objects. Initially, the plan was for me to return to the art department as a background artist after Gatchaman ended. But then came Hurricane Polymer (1974) and Tekkaman: The Space Knight (1975). I took on the main design work for Go-wapper 5 Go-dam (1976), and before I knew it, I’ve been at it non-stop ever since. It’s been nearly 30 years now! (laughs)

――You truly are a pioneer. Speaking of Gatchaman, there was a guest character named “Dr. Ogawara” – a nod to you, perhaps?

Okawara: (laughs) Yes, along with his assistant “Nakamora.”

――That’s how I first learned your name! Though I must admit, I pictured you as much older based on that character. (laughs)

Okawara: Well, we were all coworkers at Tatsunoko. The writers would hang out with us, and I guess they decided to borrow our names for a laugh.

――How did you start working on Sunrise productions?

Okawara: It began with Invincible Steel Man Daitarn 3 (1978). Nakamura and I had formed a company called Mechaman, and that was our first Sunrise project. It actually predates Zambot in development.

――You must have been working on various projects for different studios back then.

Okawara: Many Tatsunoko alumni had spread to different companies, so work offers came through those connections. Sunrise was no exception. With a family to support, I couldn’t afford to be picky. To match a salaryman’s income, I had to work incredibly fast.

――Daitarn 3 featured a transforming robot, right?

Okawara: Yes, I figured a 3D model would be the quickest way to explain the concept. I carved a wooden prototype to demonstrate the transformation.

――Did you use the machine tools over there?

Okawara: No, actually. I didn’t have a lathe back then, so I carved it out of wood. I glued the parts together to show how it would transform. You have to remember, transforming robots were pretty much unheard of at the time. There were no examples to work from, so I had to come up with everything from scratch.

――And after Daitarn came Gundam…

Okawara: Well, Gundam came about because the toys for Zambot and Daitarn had sold well. Yamaura, the producer, decided that for the third project, Sunrise should create something they truly wanted to make. Initially, it was just meant to be a sci-fi show. Yasuhiko designed the Guncannon, taking inspiration from Studio Nue’s illustrations for Heinlein’s Starship Troopers. But there were concerns about its marketability as the main robot, so Gundam was quickly created as the new lead. We wanted to give it play value – you know, transformation, combination, that sort of thing. We thought about having three units centered around the Core Fighter. The keyword was “matchbox.” We talked about having a lid and a box that you could swap parts between, like a game.

――Was that your idea?

Okawara: Gundam was a collaborative effort. We bounced ideas off each other constantly. However, I had more freedom with the enemy designs since they weren’t planned for toy production at the time.

――The Zaku has become just as iconic as Gundam itself…

Okawara: (laughs) Director Tomino’s only request was, as I recall, “I want it to have a mono-eye. The rest is up to you.” I imagined what a German counterpart to the American-inspired Gundam might look like. The chest design was inspired by Japanese military flight suits with their distinctive colored chest protectors. I thought it would be a disposable mecha, blown up in the first episode. Who knew it would become so popular?

――Back then, enemy robots were often treated as disposable “monsters,” weren’t they?

Okawara: Exactly. Plus, I was juggling four projects at the time, so I was eager to wrap up Gundam and move on to Zendaman (laughs). Now that was a fun one to work on – I’d chuckle to myself imagining scenes while designing, muttering “Daikon, daikon” under my breath.

――Four projects? You mean The Ultraman, Zendaman, and Gatchaman II as well? So everyone was moonlighting on Gundam?

Okawara: That’s right. I had to be fast enough to handle four projects simultaneously just to make a living. Realistically, I couldn’t spend more than two days on any single design.

――Some might say we’re shattering illusions here, but I believe it’s important to share the reality of the industry.

Okawara: (laughs) People often don’t like hearing that I was “just doing it to eat.” They want to preserve the dream. But I think there’s value in the sheer volume of work. Out of the nearly 50 projects I’ve done, a handful became hits. That’s just how it goes.

――Getting back to Gundam, how did you feel when you saw the first episode?

Okawara: We saw the first cut about a month before it aired. Everyone was thrilled – we knew we had created something special. It was the first time I watched my own work and thought, “This is genuinely interesting.” Until then, I had viewed it as just manga, just work for kids. But Gundam was different. It sent shivers down my spine.

――I notice you’re using a computer. Are you designing with 3D software now?

Okawara: I’m just starting to learn, mainly because of increased work in game design.

――Oh, is this for The Origin?

Okawara: (laughs) Keep that under wraps for now. I’m skipping the drawing stage and going straight to 3D modeling. My designs are mostly spheres and rectangles anyway, so it’s not too different from physical model-making – it’s just a matter of assembling parts by hand or on the computer. Though I’m still a bit embarrassed by my current skill level.

――No, this is impressive! It has your signature style. I’m moved to see you embracing new tools. We’re excited to see how your work develops with these new techniques. Thank you for your time.