Interview with Chief Director Yoshiyuki Tomino

INTERVIEW WITH CHIEF DIRECTOR YOSHIYUKI TOMINO

25 years on, Turn A Gundam’s reputation continues to grow. This work undoubtedly showcases Tomino’s unique directorial approach. We spoke with Yoshiyuki Tomino about the foundations of Turn A Gundam, its lasting impact, and his current reflections.

Text and Composition by Hiroyuki Kawai

REASONS AND PROCESS BEHIND THE OUTBREAK OF WAY

――Revisiting Turn A Gundam, one can’t help but notice the vivid portrayal of the atmosphere just before war breaks out. This seems like a novel approach in your work. Additionally, the dynamic between Earth dwellers and Moonrace appears to mirror the contrast between “old Japan” – reminiscent of the Showa era or pre-war times – and the “new Japan” of that period. It’s striking how this perspective remains so compelling even from our current vantage point.

Tomino: When it comes to the fundamental structure of war, the concepts of “old” and “new” are largely irrelevant. Throughout human history – we’re talking about 3,000 years here – the basic mechanics of warfare have remained constant: how to mobilize people, how to organize for battle. Initially, it was all about securing food-producing territories. It was that simple – expand or starve. The real wildcard? Weather. If there were extended periods of drought or heavy rains, they had to be prepared for the possibility of not being able to make it to the end of the year. This desperation drove invasions, forcing groups to displace others just to ensure their own survival.

As empires expanded and stabilized – take China’s dynasties, for instance – a new problem emerged: corruption. The concept of bribery became endemic within political structures. This is where the “outsider” became a significant factor. Foreign groups were inherently distrusted because they couldn’t be easily bought or manipulated. This tension, this dance between established powers and outside forces, it’s why no dynasty lasted beyond 600 years. Even the mightiest empires corroded from within, slowly but surely imploding under their own weight.
Understand this pattern, and you’ve grasped a fundamental truth about power and conflict.

――Indeed, the Shang dynasty of China is said to have lasted about 600 years. But that seems to be the upper limit.

Tomino: There’s been talk of a “unified world government” once a nation becomes powerful enough. I even toyed with this idea in Gundam with the Earth Federation. But history has proven this concept fundamentally flawed. The Mongol Empire is the perfect case study. The Mongols conquered half of Europe and even attempted to invade Japan. But suddenly, one day, and this isn’t just my way of saying it but a historical one, they returned to their homeland. Why? Communication. It’s that simple. They couldn’t maintain an effective communication network across their vast empire. Their primary method, signal fires, wasn’t sufficient for political control. So they returned to the steppes they knew best. Fast forward to today. Some thought the internet might finally enable global governance. But what we’ve seen is the opposite. The more our communication technology advances, the more we’re drowning in fake news. Look at disaster reports online, or the U.S. presidential elections. Our hyper-connected world is paradoxically making truthful governance harder, not easier. Elon Musk is working to provide global internet access via satellites, but I think, “Let him try.” But can it really enable effective governance? I’m skeptical. As our networks expand, we risk drifting further from truth, not closer to it.

――The idea of global unification has been a sort of utopian ideal for humanity since the 20th century. With the internet, we’ve seen cultural barriers lowered in areas like consumer trends and entertainment. But we’ve also witnessed an increase in problems like hate crimes.

Tomino: From the Arctic to the Antarctic, our planet hosts a vast spectrum of climates. People raised in these diverse environments aren’t carbon copies of each other. The prejudices born from these differences are hardwired to resist global unification. Then there’s the issue of gender equality. These are all idealistic concepts that can’t be universally applied to every facet of society. But voicing this view risks being labeled a bigot. Our modern discourse has become so constrained by fear of linguistic missteps that our thinking has narrowed considerably.

――Biologically, men and women do have inherent differences, including strengths and weaknesses. While equal opportunities are crucial, isn’t it equally important to recognize these differences and build a fair society on that foundation?

Tomino: In Turn A Gundam, I chose to depict a female-led society because the responsibility of bearing and raising children is so fundamentally important. Despite the differences in climate, geography, and culture, I thought women would be united in this universal experience of childbearing and rearing.

A SOCIAL SYSTEM CRAFTED TO EMBRACE MEAD’S DESIGN

――Revisiting Turn A Gundam, I’m struck by how meticulously the society is portrayed, right down to one-off guest characters. It’s quite remarkable, looking at it now.

Tomino: The moment we decided to adopt Syd Mead’s Gundam design, I knew we’d set an incredibly high bar for ourselves. To clear that hurdle, I realized we needed to construct a world with robust social structures and institutions. This wasn’t just about creating a backdrop; it was about crafting a human history where something like the Turn A could feasibly exist and operate. We were dealing with a society in the throes of cultural renaissance, one that was simultaneously looking back and moving forward. The concept of the Moonrace – a lunar civilization – was a godsend. It allowed us to easily establish a Earth-Moon dichotomy, providing natural tension and conflict. Within this framework, we could introduce the character swap between Kihel and Dianna without derailing the narrative. It all fell into place beautifully.

――The Earth-Moon contrast serves as both a catalyst for war and a canvas for the identity swap storyline, doesn’t it? It aligns perfectly with your themes.

Tomino: Exactly. If we’d played the Kihel-Dianna swap straight, we’d have ended up with nothing more than a rehash of Lottie and Lisa (aka The Parent Trap). That wouldn’t have justified the presence of mobile suits. So we layered in the discourse on war as a driver of technological advancement.

――Regarding Syd Mead’s designs, I seem to recall you once advising mecha designers to study his work. Is that correct?

Tomino: No, that’s not quite accurate. However, when I saw Mead’s initial sketches, I was deeply impressed by the effort and thought behind them. I made a conscious decision not to impose my own preferences. Truth be told, I was growing weary of the conventional Gundam designs. I felt it was crucial to embrace something as radical as the Turn A, hoping it might pave the way for greater design diversity in the future. While I appreciated Mead’s work, it wasn’t feasible to use all of his designs. Yet, we found ourselves incorporating more of his auxiliary designs than initially planned. It was a bit of a headache, but once we’d committed to Mead, we had to follow through. Professional integrity demanded it.

――This commitment to fully utilizing available resources is something I’ve noticed in many of your works, not just this one.

Tomino: You know, even now, looking at this mustachioed Gundam, I can’t say I dislike it. I understand why others might not care for it, but I’ve never been one to cater to popular taste. I’m a creator, through and through. It was troubling how strongly the public rejected it. I remember basically saying, “I’m not interested in your opinions.” Honestly, I had to take that stance to avoid wavering. I felt obligated to be the unwavering decision-maker, and that mindset isn’t easily shaken.

――I personally appreciate Syd Mead’s work, but I can see how integrating his style into the Gundam universe would be challenging. Your approach of building a society that could plausibly accommodate his designs makes perfect sense.

Tomino: Exactly. We embedded these designs within a carefully constructed social context. You can’t simply isolate the design and critique it in a vacuum. Without this comprehensive world-building, the Turn A would seem utterly out of place.

――This project coincided with Gundam’s 20th anniversary, didn’t it? It must have been quite a gamble in many respects.

Tomino: Dealing with someone of Syd Mead’s caliber is both thrilling and daunting. I committed to using his work, but I won’t deny it was challenging at times. Given that model kits are a major part of the Gundam franchise, I imagine there were concerns on the merchandising front as well. But you know, having recently revisited Turn A Gundam after more than two decades, I can confidently say it has earned its place in Gundam history. Especially when you look at some of the more decorative Gundam designs we’re seeing lately, the Turn A doesn’t seem out of place at all. Just yesterday, I caught a Gundam special on TV and found myself wondering, “Why do they keep pushing these increasingly ornate designs?” Then it hit me – for most people, this is the natural progression. They don’t see alternatives.

――The Turn A Gundam does feel like a design built on a solid, well-defined concept.

Tomino: In that sense, while current Gundam designs work within the realm of anime, I hope they stay there. They shouldn’t cross over into reality. With Turn A Gundam, and later with Reconguista in G, we strived to create something that could conceivably exist in the real world. That was always our aim.

WHAT GHINGHAM LACKED WAS A WOMAN BY HIS SIDE?!

――Looking back on Turn A Gundam after 25 years, what stands out in your memory?

Tomino: The reason Turn A Gundam didn’t reach its full potential is crystal clear to me now – I mishandled the character of Gym Ghingnham. I failed to fully imagine the power structure behind him. That’s why we ended up with such an underwhelming conclusion.

――I actually thought the absence of a clear-cut villain was part of the show’s concept, and Ghingham’s character design.

Tomino: No, that’s not it. The truth is, I overextended myself with the sheer number of characters. I can see now where I let things slip. Take Corin Nander, for instance. I should have tied things up more neatly. There’s a visible lack of focus. The fact that I couldn’t bring myself to let Ghingham carry the finale – it’s a regret that still gnaws at me.

――That’s quite surprising to hear.

Tomino: The most glaring issue? Ghingham was isolated. More specifically, he lacked a female presence. I thought Merrybell was enough, that she provided sufficient context for Ghingham. I was wrong. In a way, you could say I was outmaneuvered by [character designer] Akira Yasuda’s creation. With an ineffable presence, I felt like saying, “You want me to move such a weird guy? I’m Tomino, the one who created mobile suits” (laughs).

――(laughs) Turn A Gundam is, in many ways, a story about women’s growth. In that context, couldn’t Ghingham’s portrayal – flaws and all – be seen as a critique of male-dominated society?

Tomino: Even when depicting a hopeless character like Ghingham, you need a supporting cast. That was sorely lacking. He needed a harem-like entourage, women he could manipulate at will. I knew that incorporating even a hint of this concept would have fleshed out Ghingham’s character. I hate to admit it, but my lack of theatrical knowledge was a critical flaw. That said, I have no desire to remake Turn A Gundam now.

――Interestingly, the first generation that latched onto Mobile Suit Gundam seemed to really embrace this series in the end. There are aspects that are more appreciable now than during its original broadcast.

Tomino: While it’s ostensibly about giant robots, I believe there’s undoubtedly a group of viewers in their 40s and 50s who can appreciate the historical context and realize, “It’s not just about the mechs.” They understand it’s much more nuanced than that.

THE CONSCIOUSNESS OF BEING IN THE MIDST OF CONTINUING TO CREATE WORKS

――Since Turn A Gundam, it seems your subsequent works have inherited aspects of this style. What’s your perspective on this?

Tomino: My fundamental approach hasn’t changed. With Mobile Suit V Gundam, I was particularly interested in how authoritarian power manifests when humans govern en masse. In the West, when Christianity dominated governance, we saw issues like witch trials. There’s a disconnect between how Japanese people generally perceive Christianity and its often skewed ideological reality. Religious authoritarianism has the power to eradicate entire factions. In V Gundam, I incorporated structures symbolizing this, like the guillotine. Looking at modern history, I can’t help but feel that European cultures are still grappling with these issues. Considering this, the Japanese people – an island nation with a maritime cultural heritage – seem to have developed a comparatively moderate society. Though I recognize this statement might be problematic in its own right.

――After Victory Gundam and Brain Powerd, Turn A Gundam feels very grounded.

Tomino: Yes, it is indeed grounded.

――Victory Gundam seemed to challenge European-style settings. It feels like your subsequent works, including Turn A and G-Reco, have continued this journey around the world, eventually returning to Japan.

Tomino: The sense of coming full circle, returning to the contiguous land of Japan, doesn’t sit uncomfortably with me. It was a conscious choice in G-Reco, and it’s present in my current project, Himiko Yamato. In fact, the concept for Himiko Yamato predates G-Reco by over a decade.

――Your works have always woven in Japanese history, culture, and geography to create fictional worlds. It’s surprising to see you tackle this head-on in the title itself.

Tomino: Issues of femininity and cultural history are extensions of what I explored in Gundam. For depicting these without relying on a space setting, the name Himiko Yamato felt crucial. When I filed for the trademark 20 years ago, it was approved without issue. Neither “Himiko” nor “Yamato” alone would have worked. At that point, I felt that this name was correct.

――It’s fascinating to see how themes evolve from Turn A through G-Reco to Himiko Yamato.

Tomino: When we made G-Reco, I felt bad for the staff because it was so universally panned. All I can say is, “Please, give it 20 or 30 years.”

――Exactly. With time, new perspectives emerge. Your works always incorporate intricate details in their settings. While it’s challenging to grasp everything on first viewing, that depth becomes apparent over time.

Tomino: I’ve made a conscious effort not to watch other Gundam series because once I do, it’s over. Commercially speaking, Mobile Suit Gundam SEED is considered superior, so I’ve lost in that sense. I have to think about how not to lose, but I’m aware that even Himiko Yamato probably won’t win. I know women and children won’t come to see it. However, ideologically speaking, I believe our approach is superior. That’s why I think, “Give it 30 years.” After 30 years, sales figures become irrelevant. In the business world, you’re confronted with annual sales figures that leave no room for argument. But in the realm of creative works, that doesn’t matter. But I won’t be here in 30 years. I sense that this is how things will end. That’s why I can’t carelessly create just what I like. I’m starting to feel the need for moderation.

――I’m curious about your new works. It’s inspiring to see you directing past the age of 80. I can’t help but imagine what kind of works they might be.

Tomino: Regarding creative works, we talked about how they might transform in 20 or 30 years. But I’m still alive now, so part of me thinks, “Am I still in the thick of it?” To be honest, I’d like a break from being in the midst of it at this age. But from the fans’ perspective, it’s fine to have expectations. Those expectations energize me, which I’m grateful for. I’ll do my best again starting tomorrow.

――We look forward to it. Thank you very much for your time today.

Source: Great Mechanics G, Autumn 2024 (pages 032-037)

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