An Idyllic Worldview Concealing an Extinct Civilization

Turn A Gundam, while bearing the Gundam name, painted a world unlike any seen before in the franchise. Initially bewildering to fans, this unique vision ultimately became the series’ defining charm. We spoke with Shigeru Morita of Studio Nue, the mastermind behind this distinctive world-building, to understand the thoughts poured into its creation.

Text and composition by Hiroyuki Kawai

PORTRAYING GUNDAM AS GENUINE SCIENCE FICTION

――Turn A Gundam stands out in the Gundam series for its meticulously crafted world-building. As someone integral to its foundation, how did you become involved, Mr. Morita?

Morita: My journey with Turn A Gundam actually began with a different project. Eiji Yamaura, who had just stepped down as Sunrise’s president, was launching his own production company. He was developing an original concept with Director Tomino and mecha designer Kunio Okawara. I was invited to join that team – this was around 1998, I believe. We had weekly brainstorming sessions, accumulating design ideas, but ultimately that project didn’t materialize. However, it led to a pivotal moment. After one of these meetings, Tomino pulled me aside and asked, “We’re planning something for Gundam’s 20th anniversary. What are your thoughts, Morita?” Now, I’ll be frank – at the time, I thought anniversary projects were rather trite. So I responded quite bluntly, “I don’t see the point.”

――I didn’t know there was such a project.

Morita: I saw Tomino’s expression change and thought, “Oh, have I put my foot in it?” But then he said, “We’re bringing Syd Mead on board for the designs. I want you to handle the world-building and sci-fi research.” Later, at Sunrise’s planning department, I met with key figures like scriptwriter Hiroyuki Hoshiyama and producer Yoshitaka Kawaguchi. I vividly remember Kawaguchi asking, “Do we really need to do this as a Gundam series?” It struck me then – “Now here’s someone who asks the tough questions.” Despite my initial skepticism, I sensed we were on the cusp of something truly intriguing.

――Was there a concrete plan at this stage?

Morita: It was more of a concept outline than a full proposal – just a few pages of A4. Reading it, I picked up on a mythological undercurrent. When I asked Tomino, “Are you aiming to turn Gundam into a kind of myth?”, he firmly denied any such intention. Yet, I couldn’t shake the feeling that the structure he’d outlined was inherently mythic. Of course, this was partly because the setting wasn’t fully fleshed out yet. It’s worth noting that Tomino’s approach to storytelling is deeply rooted in classical narrative structures. This traditional foundation likely contributed to that mythological impression I initially got.

――What was your approach to the world-building aspect?

Morita: I set myself a personal mission: to create the first truly science fiction Gundam. The original Mobile Suit Gundam emerged from a unique set of circumstances, and from a strict sci-fi perspective, it was somewhat ambiguous. Subsequent Gundam series hadn’t quite satisfied me in terms of their sci-fi elements either. By “making it sci-fi,” I mean constructing the world and narrative on a foundation of scientific consistency and plausible technology. Once that logical framework was in place, any emotional story could unfold within it. But I was determined to give it that solid sci-fi backbone. I never explicitly stated this goal to anyone – it was my own guiding principle throughout the process.

――That’s interesting, because Kenichi Matsuzaki once mentioned that during the original Gundam, Tomino repeatedly told him, “Don’t make it sci-fi.” It seems like a curious shift.

Morita: Ah, there’s a common misconception there. Tomino doesn’t dislike sci-fi – he absolutely loves it. What he’s wary of are hardcore sci-fi fans. And I suspect our company, Studio Nue, might be partly responsible for that wariness. (laughs)

――(laughs)

Morita: Let me give you an example. When I submitted the concept for the Sackträger, I couldn’t help but flesh out the idea visually as I was writing it. While that ended up informing the final design, Tomino grumbled, “Those Nue guys always have to turn everything into a picture!” (laughs) He would have been happy with rough sketches, but for us, that felt… unpolished, you know?

A WORLD WHERE TWO DISTINCT CIVILIZATIONS COEXIST

――The Earth-side setting, reminiscent of the early 20th century, caused quite a stir among fans at the time.

Morita: I’ve discussed this in various media, but it’s crucial to understand that while the Earth appears to have an early 20th-century colonial aesthetic, the underlying technology is completely different. We established this from the outset. Take bicycles, for instance. Their structural materials incorporate genetic engineering, reducing the effort needed to pedal. Paint isn’t just paint – it’s a solar-powered material that generates electricity when applied to walls. Even artificial turf acts as a solar panel. We envisioned areas made inaccessible by rogue nanomachines from past wars or disasters. We even conceptualized electricity-generating sand that can be rejuvenated with seawater. The key is, the inhabitants don’t question or understand the principles behind this technology. They simply use it, resulting in this unique civilization.

――So it’s a world where civilization has collapsed but its technological legacy persists.

Morita: Tomino was quite enthused by this approach. Looking back, he made incredibly nuanced use of these concepts. I produced mountains of background material – essentially my own flights of fancy about the technological underpinnings of this world.

――The Moonrace’s setting provided a stark contrast.

Morita: With the Moonrace, we aimed to showcase high technology. Crafting these two distinct civilizations was perhaps the most rewarding aspect of my work on the project.

――The concept of canals on the Moon was particularly surprising.

Morita: Ah, yes. When I came up with the idea of building canals along the equator to regulate temperature gradients, I thought, “Why not just have water flowing through them?” That’s when I felt I’d reached one of the high points in this job. (laughs)

――(laughs)

Morita: The Moon experiences extremely long days and nights – about two weeks each. This creates significant temperature disparities. So we envisioned a civilization built around minimizing these temperature fluctuations, with a canal system circling the Moon’s equator to transport heat. Water is crucial for oxygen supply, and solar exposure is vital for heat. However, if algae proliferate in these canals, they could block sunlight. This necessitated a profession of canal moss removers. These workers would be exposed to the highest levels of cosmic and solar radiation, making them extremely vulnerable to radiation sickness. To combat this, we imagined they’d be genetically engineered to have radiation-resistant, darker skin. This line of thinking eventually led to the character of Loran. People often say Loran looks Black, but he’s actually part of a radiation-resistant race. In the lunar society’s caste system, Loran belongs to the lowest rung, performing one of the most dangerous jobs. This setting evolved quite naturally.

――That’s a fascinating concept, though it might be considered sensitive today.

Morita: Even back then, depictions of radiation were a delicate topic. While I wrote about it in the background materials, I don’t think it’s explicitly mentioned in the show. That’s why when Borjanon recovers nuclear materials, we created an original nuclear symbol. We couldn’t use real-world iconography, so we designed a symbol that merely suggests nuclear material.

――It seems you’ve reimagined the concept of lunar cities.

Morita: I wanted to avoid cliché dome cities. We calculated everything – canal dimensions, excavated volume, and potential population. This level of detailed, substantiated world-building was quite rare at the time. I wanted to convince the staff that these weren’t arbitrary ideas, but well-thought-out concepts.

――The term “Dark History” has become quite popular since then.

Morita: I wonder when it was… At some point, we mapped out the entire Dark History timeline. From the Common Era to the Universal Century, connecting to parallel Gundam worlds, and finally arriving at the Turn A era. We were adamant that Turn A would be the ultimate future of all Gundam timelines. This concept ties into the historical footage seen by the Moonrace. Interestingly, what was meant to be top-secret background material somehow ended up in promotional materials distributed to model shops. (laughs) That was quite a surprise.

――Director Tomino created Reconguista in G as a world set after Turn A Gundam, and perhaps because it’s a continuation, it seems to incorporate similar setting elements?

Morita: If any influence from Turn A persisted in Tomino’s approach to world-building, I’d be quite pleased. However, when “compressible water” appeared in G-Reco, I realized he’d taken a sharp turn towards fantasy. That’s beyond even ultra-technology.

――Nanomachines, exemplified by the Moonlight Butterfly, seem to play a crucial role in the story’s setting.

Morita: While I didn’t create the Moonlight Butterfly concept, it aligns with ideas from K.E. Drexler’s work on nanotechnology. Drexler warned about the potential for programmable molecular robots to run amok, reducing everything to a grey goo. The Moonlight Butterfly is an extension of this concept. I suspect Tomino had Drexler’s ideas in mind when he introduced this element.

――It seems the sci-fi mindset directly influenced the narrative.

Morita: Personally, I find elements like the psycho-frame too esoteric. In my involvement with Turn A, I aimed to eliminate such occult elements. Even the Moonlight Butterfly, while not fully explained, is a product of pure science – not super-science, but an extrapolation of contemporary scientific principles. It’s fictional technology, but grounded in real-world scientific concepts.

THE POWER OF WORLD-BUILDING IN SHAPING NARRATIVE

――What was the atmosphere like during production?

Morita: Initially, I was invited to script meetings, but my tendency to interject… well, it didn’t go over well. (Laughs) I was so vocal that Hoshiyama eventually said, “Don’t invite him anymore.” Looking back, I can’t blame them. I was constantly chiming in with, “But according to the setting…”

――It must be a delicate balance.

Morita: This project really inspired that level of involvement. I hadn’t written scripts myself then, so I’d boldly say things like, “That scene doesn’t work with this setting.” After I started writing scripts, I felt like apologizing to Hoshiyama. I realized how disruptive we world-builders can be. (chuckles)

――But with such detailed world-building, you must have wanted it to be utilized.

Morita: There was this culture at Sunrise – if you’re at a meeting, you’re expected to contribute. If you don’t speak up, you might as well not be there. So there was this pressure to leave your mark. I was probably too zealous about it back then.

――So the setting should be more of a seasoning to the story?

Morita: Sunrise has always been about original works, and that’s where I cut my teeth. Creating original content means everyone needs to contribute ideas, or you’ve got nothing. In that sense, throwing out various setting ideas before the story is finalized can greatly influence the work. These days, it’s more common to have the story first and then create the setting. But for original SF works, the setting often drives the story. There are clear instances where certain plot points emerged because of established setting elements.

――It’s fascinating how the setting can shape the narrative.

Morita: There’s a unique energy in brainstorming for original works. Ideas can spark spontaneously during discussions. For me, that’s the most exciting part of the creative process. Take the idea of Dianna and Kihel switching places – that came up during a script read-through. This kind of creative chemistry, where core ideas emerge organically, is the real thrill of original works.

――What were your impressions of the final animated product?

Morita: I recently rewatched it for this interview, and I was impressed. It’s rich in information, the animation quality is exceptional even by today’s standards, and there’s an intellectual depth permeating the entire series. The final episode, “Golden Autumn,” is particularly striking in its complexity and composition. The nuanced relationship between Loran and Sochie is beautifully portrayed, and you get the sense that their story isn’t over. Even though it’s the finale, you’re left contemplating how these teenagers’ lives will continue to unfold.

――It’s been 25 years since the broadcast. How do you view Turn A Gundam now?

Morita: During production, even I couldn’t fully grasp its significance. Part of me wanted it to be more militaristic, being a Gundam series. That impulse eventually led to the heavily militarized setting of Gundam SEED. But now, 25 years later, I’ve shed those preconceptions about what Gundam “should be.” Viewing Turn A Gundam simply as an anime series, I’m struck by its exceptional quality. If asked to name a comparable work, I’d be hard-pressed to do so.

――Thank you for your insights.