UNLEASHING THE FULL TOMINO WORLD IN G-RECO: THE DIRECTOR’S VISION AND ITS EVOLUTION

If you’re reading this, chances are you’re well aware that Yoshiyuki Tomino is the mastermind behind Reconguista in G. But, Tomino didn’t just direct this beast. He poured his heart and soul into the script and storyboards, too. And that’s not all! Flip through the interviews preceding this page, and you’ll see he even sketched out rough designs for both the mecha and the art. Make no mistake, this project is Tomino’s brainchild through and through, a living, breathing “Tomino World” if you will. Now, we at Great Mechanic G magazine have had the privilege of picking Tomino’s brain about G-Reco not once, not twice, but three times: after the TV series wrapped, between the theatrical releases of parts III and IV, and once part V hit the screens. We’re laying it all out for you here, giving you a front-row seat to the evolution of G-Reco and the man behind it.

Part 1: Originally published in Great Mechanic G, Summer 2015 Issue
Part 2: Featured in “Great Mechanic G,” Summer 2022 Issue
Part 3: An expanded and revised version of the interview from “Great Mechanic G,” Spring 2023 Issue

SETTING SIGHTS ON ALL OF SPACE DEVELOPMENT AS THE REAL RIVAL

――G-Reco’s world seems sprinkled with various fascinating keywords.

Tomino: For the Great Mechanic audience, I’ll say this: our story was conceived with space development as the true rival. It’s a pointed critique of global space exploration efforts, essentially saying, “Stop this nonsense.” There’s no point in sending humans to space without something like the Ocean Ring. Even with a space elevator, it’s meaningless as a transportation system if there’s nothing to bring back. Having 144 satellites around Capital Tower? That’s impossible with current space development tech. But in G-Reco, we’ve inherited Universal Century technology, making it feasible. Space development is pointless, cost-performance-wise, unless there’s something like Venus Globe out there. When someone like me creates after a long hiatus, we can’t rely solely on fantasy. I used the mecha genre as a vehicle to address real-world issues, deliberately hiding messages within the narrative.

――For instance, the Capital Guard and Capital Army seem to mirror the debate about changing Japan’s Self-Defense Forces into a military…

Tomino: Precisely.

――In the show, each faction seems to have a character with a strong will. That was quite striking.

Tomino: Rather than factions, let’s call it systemic intent. Once a system gains momentum, it doesn’t stop until it collapses. To mobilize forces like mobile suits, you naturally need a solid organization. The idea of “evil wielding weapons” is purely fictional. I’m old enough now to state that with absolute certainty.

――Anime often relies on easily identifiable villains, but the show completely rejects this formula.

Tomino: Some might find it odd that Ameria jumps straight to building space battleships instead of sea vessels, but that’s how military buildup begins. It’s not just for show. The scary part is that with Universal Century tech as a foundation, even those who don’t understand the technology can build these things. Ameria’s space battleships are akin to North Korea’s nuclear development.

――So you’re embedding real-world issues into the narrative.

Tomino: I create the structure without explicitly stating it. If that structure is solid, children will question, “Why is it like this?” When they align these structures with realism, I hope they’ll uncover the hidden intentions and contemplate solutions. I was aware that some parts could have been made clearer, but showing the bigger picture of Towasanga and Venus Globe took precedence, leaving little room for explanations. I acknowledge this as a flaw in the script, but it stems from my amateur belief that the story didn’t need a clear-cut friend-or-foe dynamic. I wanted viewers to consider the true structure of war, so I intentionally avoided making the enemy simple or easily understandable.

EMBEDDING REAL-WORLD ISSUES AND CONVEYING THEM THROUGH VISUALS

Tomino: While the show might seem one way on the surface, message-wise, as I mentioned earlier, I wanted to sow seeds for today’s children to ponder. We embedded real issues into the worldbuilding without explicit explanations, crafting it to pique the younger generation’s interest. You see, kids will keep watching if the visuals are engaging, even if the story is complex. I anticipated some difficulty in comprehension, but our biggest hurdle was securing a timeslot when children could actually watch it. Another major issue was the time crunch in production. We had to do voiceovers and dubbing in less-than-ideal conditions. Particularly from episodes 6 to 20, the result wasn’t what I’d envisioned. It’s hard to watch and, frankly, not entertaining. The episodes that turned out decent were those where we managed extensive dubbing retakes and major revisions. Episodes 3 and 4, for instance, underwent significant retakes and are far more engaging than their first drafts. For the TV version, we were essentially just focused on getting it on air.

――So it didn’t turn out as you’d planned?

Tomino: While I was present for all the voice recording sessions, which went smoothly, I’d never experienced such dubbing issues before. I was aware that we had a rather unique production process. There are methods for creating rapid plot developments, but upon re-dubbing, I realized we couldn’t rely on any routine work. Each scene required precise balancing of music and sound effects, or the story became incomprehensible. We’d entrusted much of this work without visuals, which led to a breakdown.

――Did the latter half come together as intended?

Tomino: The improvement from episode 23 onwards is simple to explain – I was present for all the dubbing sessions. Also, from around episode 21, the staff began to grasp the project’s unique characteristics. The final episode was largely fixed at the storyboard stage, so there were fewer deviations than expected. The main issue was that the animation couldn’t keep up. While dubbing problems decreased, episodes 23 to 26 required extensive visual corrections. The Blu-ray/DVD version will be quite different from the TV broadcast – more vivid and easier to follow.

――So the Blu-ray/DVD version will show us the true vision of G-Reco?

Tomino: With both dubbing and visual retakes, it’s become far more engaging.

BALANCING SETTING REQUIREMENTS WITH DRAMATIC STRUCTURE

――G-Reco seems to feature a diverse range of settings, from Capital Tower to Towasanga and Venus Globe. Was this intentional?

Tomino: When you’re actually creating visuals, you realize how confusing space and aerial combat can be. The moment you see the ocean, though, spatial relationships become clear. Storytelling demands a stage. That’s why we needed Venus Globe, Towasanga, and Capital Tower. They’re essentially transit systems for annual Photon Battery deliveries.

――The Earth’s lack of energy production feels like a pointed commentary on real-world issues.

Tomino: Given our premise that Earth has no heavy industry, energy must be imported. That’s why I was meticulous about Earth’s background scenes. If you look closely, you’ll notice Earth is dark, with limited electricity. We depict Earth at less than 1/10th of current light levels. We intentionally limit views of Earth beyond Capital Tower’s base and Ameria. Push it too far and you risk a Planet of the Apes vibe, which I wanted to avoid to keep things from getting too gloomy for our younger audience.

――Venus Globe, with its Ocean Ring and G-IT Laboratory, seems like an enticing destination.

Tomino: I’m quite amused that some misunderstand Venus Globe to be near Venus. We only said it’s in Venus’ direction from Earth, not near it (laughs). It’s just a bit beyond the moon, appearing close to Venus from Earth’s perspective. We kept the spatial relationships fairly loose. Concerned that the connection between Venus Globe and Ocean Ring might be unclear, we included an ocean within the ring to make it more memorable.

――Among the various faction’s mecha, Venus Globe’s ships stand out.

Tomino: The Crescent and Full Moon ships? I didn’t put much thought into their designs. They’re actually revivals of designs Yamane created about 15 years ago. My fondness for those designs was part of what sparked G-Reco. Bandai probably won’t ever make it, but I’d love to see a plastic model of the Crescent Ship. To me, it’s the ultimate design. I love it because it clearly breaks from the typical “space battleship” form for long-distance transport ships. I believe these outlandish designs make for more dynamic visuals when animated.

――The Kashiba Mikoshi seems to have religious undertones beyond being just a spaceship.

Tomino: I considered both name and design for the Kashiba Mikoshi simultaneously. By the design stage, all 26 episode scripts were complete, and I knew we lacked time to properly introduce it as a setting. But designing it as a mere transport ship would’ve been meaningless – it would’ve been seen as nothing more. When I commissioned Yamane for that design, he actually asked, “Isn’t this too many lines?” (laughs). It’s styled after a mikoshi (portable shrine) because we established the SU-Cord religion. Without that context, a name like Kashiba Mikoshi wouldn’t make sense.

REVISITING WITH A DIFFERENT METHODOLOGY

――Akira Yasuda, the mechanical designer, once said, “Tomino’s Gundam is always at the forefront.” G-Reco seems to embody this perfectly.

Tomino: Every genre has its stagnant periods and produces its fair share of mediocrity, but that also broadens the base. I hesitate to call it a market, but anime is no longer a niche medium. That’s why I believe it’s time for some anime to expand further as works of art. It’s meaningless if only Doraemon and Pokémon survive. This applies to Gundam too – it’s become more about reproduction than innovation. That’s why I think it’s good to have a different approach, as in the case of G-Reco. I wanted to create something that hints at future possibilities.

――It would be a shame if this was the end of it.

Tomino: While it’s not a blockbuster, I’m proud we made it in this day and age. There’s some momentum within Sunrise for a “round two.” If it happens, I’d like to rework it for a broader audience. The big issue is that the old compilation movie approach from 10-15 years ago won’t work anymore. It’s structurally impossible and out of touch with the times. While a theatrical release is ideal, we’re also considering streaming or episodic screenings.

――If you were to revisit it, what elements would you focus on?

Tomino: The Aida and Bellri dynamic would be a major focus. The latter half works because the supporting characters’ emotional arcs are consistent. Even Manny, despite going back and forth, maintains a clear trajectory. It’s evident that this comes across even with scene jumps. When you dig into what’s unclear in “G-Reco,” it boils down to Aida and Bellri.
While other characters branched out, Aida and Bellri remained underdeveloped. I’m half-lying when I say I don’t understand why, because I know the reason – I didn’t end up liking Aida (laughs).

――But Aida seems like the type of character you usually like (laughs).

Tomino: Initially, yes. But something changed midway. When I saw the character sheet for Cahill, the man Aida falls for, I thought, “He’s a pretty boy!” In that moment, I realized, “Ah, Aida slept with this guy…” The staff agreed, joking, “That pretty boy must be quite the player.” That’s when I hit the brakes. Even at my age, I realized I’m still like this. The moment I thought that about a fictional woman, I instantly disliked her (laughs).

――Is it okay to print this? (laughs)

Tomino: It’s fine. But that’s what crafting drama is about. You need to feel it viscerally for it to work. It’s the same with Klim and Mick, Mask and Manny. When their relationship reaches that level, you just know, “Last night, you two…” That’s how we get lines like “We overslept, didn’t we?” These lines aren’t in the script. They come from understanding the characters physically. It might sound crude, but without this visceral understanding, the drama changes. The atmospheric entry scenes in episodes 25 and 26? Those are perfect sex scenes for Mask and Manny.

――So you didn’t reach that visceral understanding with Aida?

Tomino: Yasuda made a good point: “Aida only shows weakness and gets emotional in front of Cahill.” That made me think, when they truly realize they’re siblings, maybe Aida should physically lash out at Bellri. Hit him because they’re family, demanding he take it. I hope Bellri wouldn’t run away in that moment.

――What about Bellri’s issues?

Tomino: With Bellri, I mistakenly thought I could get away with a consistently cheerful character. Also, I didn’t properly consider Noredo. We should have fleshed out Noredo’s relationship more in contrast to Bellri’s focus on Aida.

――It seems the supporting characters often stole the spotlight.

Tomino: That’s because I grew fond of those characters. They naturally come to life then. Steer is one character who really shines. I’m smitten with both the character and the voice actor (Michelle Yumiko Payne). Noredo’s voice actor (Minako Kotobuki) was also a great match. Noredo sulking off to the infirmary wasn’t in the script – that only happened because of Kotobuki. Mick Jack was spot-on too, making Klim dance around calling her a “genius.” That’s all thanks to Michiko Kaiden’s talent.

DIVERSE MOBILE SUITS: A NATURAL EXPECTATION IN ANIME

――From our magazine’s perspective, we must ask about the mecha. This time, there was an incredibly diverse range of mobile suits.

Tomino: People have noted the unusual lack of consistency among the mobile suits, with a variety of disparate designs. But I think, “Why not do this?” especially in sci-fi or giant robot genres. These unusual mediums allow for such creativity. We need to show “what’s possible” and be more thorough in establishing these concepts. In an era where live-action films are being “anime-ized,” it’s crucial for anime itself to demonstrate new methodologies.

――Have you changed your approach in any way?

Tomino: We brought in new talent like Ippei Gyoubu, and Akira Yasuda introduced his wild “backpack theory” after the script was complete. It threw me off balance. Honestly, I thought, “We don’t have time for all this,” but we incorporated almost everything. That’s because I understand the flexibility of anime as a medium. Simply being content with familiar patterns and discarding the unfamiliar isn’t how anime should be made. Anime is inherently fluid, and we need to reassess that atmosphere. If I didn’t think this way, I would have vetoed the backpack theory outright. But I felt it would be wrong to discard the genuine ideas of a talent like Yasuda, so we embraced it all as part of our work.

――Recent robot anime tend to limit the number of mecha designs to reduce the animation workload.

Tomino: That’s due to the creators’ “laziness” – I’m being polite here. I learned a lot from our animators this time. I wondered how they managed such intricate animation, and I realized it was them venting their frustrations. Otherwise, such painstaking work wouldn’t be possible. There are no shortcuts in battle scenes. I was impressed by how they interpreted the complex storyboards and recreated movements with their animation sense. When I returned to hands-on work after a long time, there was no room for complacency.

――So it’s more that they “wanted to do it”?

Tomino: Animators haven’t been allowed to do this for a long time. Many recent anime criticize anime itself, but the charm of anime lies in its “playfulness” and “showmanship.” What’s the point of freezing frames and just having dialogue for 15 seconds? If we don’t properly showcase what makes anime interesting, it might become a lost art in 4-5 years. We needed to create samples to nurture the next generation.

――Hand-drawn robot anime does seem like a fading art.

Tomino: More importantly, it’s about storytelling ability and direction. While the art has advanced, I feel storytelling and directorial talent have regressed. The fact that Tetsuro Araki is perhaps the only name I can think of right now is problematic. Other directors should look to Araki as a benchmark. His involvement this time was a lifesaver, and we should consider “what makes Araki’s style unique.” To move beyond rote work relationships, we need to find talent in Araki’s vein. Thinking this way might reveal guidelines for the next generation, which is why I’m motivated to follow his lead myself.

MOBILE SUITS ARE MORE THAN JUST MECHANICS WHEN THEY’RE HUMANOID

――Overall, what were your impressions of the mobile suit designs?

Tomino: Initially, I was resistant to Gyoubu’s designs. The Mack Knife and especially the Grod were challenging. The elaborate wings for the Catsith were particularly troublesome for storyboarding. I thought we wouldn’t have time for the Mack Knife’s transformations, but the animators made it work.

――The unusual mecha designs felt like a return to the original appeal of robot anime.

Tomino: We certainly had some odd ones. The G-Rach wasn’t originally planned, but when Manny piloted it, I felt it could really establish her character. It ended up leaving a strong impression. When you can contrast the mobile suit with the character, you get visuals that my preconceptions or mobile suit theories alone couldn’t produce. That’s where accepting Gyoubu’s designs paid off. But Aida and the G-Arcane remained problematic.

――Compared to Manny, that pairing did seem rather conventional. There were rumors about transformation gimmicks and late introductions.

Tomino: I instinctively avoided G-Arcane’s transformation. I’m not sure why, but it’s probably because we couldn’t flesh out Aida enough. When I got a feel for Mask and Manny, putting Manny in the G-Lucifer felt interesting. But Aida and G-Arcane felt too obvious. It didn’t ignite anything. However, when Yasuda and the mecha team praised the Full Dress as “dazzling,” I finally started to see it.

――The Full Dress seemed to link character and mecha well.

Tomino: Unless we had a dramatic moment where a depressed Aida decides to “dress up as queen in the Full Dress,” transformation wouldn’t work. It’s not about “it can transform, so let’s do it.” The key isn’t drawing the G-Arcane, it’s about establishing Aida. We needed to be more creative in our approach.

――Producer Naohiro Ogata mentioned struggling to find a way to defeat the G-Self in the final episode.

Tomino: The G-Self’s Perfect Pack was troublesome. Using Yasuda’s specified abilities, it could wipe out all opposition in 30 seconds. Finding a way to nerf the G-Self was unsolved until halfway through storyboarding episode 25. It took ages to come up with the idea of G-Self using all its energy for atmospheric re-entry. Without that, we wouldn’t have had Mask’s line in episode 26 about running out of battery after that jump.

――Throughout the show, there seems to be a thorough approach to using mecha functions.

Tomino: In drama, with characters and mecha closely linked, we need to introduce mecha capabilities. But it’s crucial to remember that mobile suits are humanoid and anthropomorphized. Focusing solely on mechanics makes things unclear. With G-Self, we link the character’s “I’m tired” expression with the mobile suits energy depletion. In depicting mobile suits in the show, we’re laying groundwork for future works and incorporating many detailed ideas. Injecting ideas means we can’t be lazy. One idea often requires not just 2-3 days, but a week of intense struggle to emerge.

INTENT BEHIND THE FINAL SCENE AND PROSPECTS FOR THE FUTURE

――Let’s discuss the finale. Sending Bellri on a journey to Japan felt like a kind of declaration.

Tomino: As I mentioned earlier, this story isn’t about enemies and allies. The ending has an atmosphere of the indecisive Bellri saying, “Let me go on a journey to become a full-fledged adult.” I have no intention of depicting a hero like in Gundam, nor does rehashing make sense. Why Japan? Simply because this anime airs in Japan. If overseas broadcast is decided, we plan to adapt the final scene for regions like North America, Europe, Southeast Asia, or South America. If someone says “Bellri being in Shizuoka is strange,” it feels like they’re imposing value judgments, which irritates me a bit. However, the TV broadcast version of the final scene had issues. Please watch the Blu-ray/DVD version, where the background has changed.

――What issues were in the TV version’s final scene?

Tomino: I never specified the typical Mt. Fuji. In that world, Fuji likely erupted 3-4 times, so the mountain’s shape should be altered. That’s why the dialogue mentions “three Fujis,” and the storyboard shows a collapsed Mt. Fuji. Think of it like Planet of the Apes. It’s like showing the Statue of Liberty buried in future New York, but just because it said Mt. Fuji, they showed the current mountain.

――Imagining the Regild Century’s Mt. Fuji seems crucial.

Tomino: In SF, the most important thing isn’t what happened in that scene, but creating an image of Mt. Fuji after three major eruptions – that’s the sense of wonder. Such an image would show how different this era is from now, by 1000 or 2000 years. Also, I’m strongly against the Linear Shinkansen, so I didn’t use it. It’s just a newly created bullet train.

――Why did Bellri climb Mt. Fuji in a Shank?

Tomino: Because I like Shanks.

――(Laughs) Since he’s “standing on the earth,” I thought maybe the Shank could malfunction, forcing Bellri to move on his own feet.

Tomino: There’s another Shank fan – Kimitoshi Yamane. Making the Shank malfunction would sadden him, so I can’t carelessly remove it. But I did consider the walking approach. In a potential theatrical version, extending the TV credits to a full ending roll could allow time for Bellri to walk. But if Bellri walks, it won’t end with just him, you know?

――Someone might show up…?

Tomino: Noredo would catch up. She’d probably be waiting at Niigata Port (laughs). When Bellri can’t walk anymore, Noredo arrives on a motorbike. Then they cross the Sea of Japan. We showed the ocean in Ocean Ring, but honestly, I wanted the final scene to be at sea.

――I see (laughs).

Tomino: Bellri and Noredo setting out to sea, with a “Hey, looks like a typhoon’s coming…” “Who cares!” kind of ending could work (laughs). But that wouldn’t be enough with just the two of them. Making it a pair feels too conventional. Rather than a simplistic happy ending, when we consider the discord in the process of forming a family and the time needed to resolve it, it might be good to include Raraiya, or even Aida as a pleasure boat captain.

――I imagined them on a fishing boat with big, colorful flags.

Tomino: No, no, fishing boats are too ordinary, and a pleasure boat isn’t interesting enough. We need a weird G-Reco style ship for crossing the Sea of Japan (laughs). If you come up with an idea, I’ll credit Great Mechanics for the idea.

――(Laughs) I’ll give it serious thought.

Tomino: I want to cherish works that can have this kind of approach. I’m currently watching NHK’s morning drama Mare religiously. While I don’t particularly like what its structure is trying to do, it intrigues me. It’s similar to G-Reco’s failed structure, but with practice, we might see its potential. Both big corporations and ventures like us approach structure similarly, but we need to accumulate more meticulous craftsmanship and subtle techniques. If we can do that, it might expand nicely as another flavor beyond just mecha theory.