Birth of a New Era in Gundam Animation?!
A Comprehensive Look Behind the Scenes

GUNDAM REQUIEM FOR VENGEANCE

For those who have seen it, those who haven’t, and those who might want a second viewing: The Appeal of Requiem for Vengeance.

A GUNDAM SERIES THAT FOUND ITS PLACE IN JAPAN

As of 2024, Mobile Suit Gundam: Requiem for Vengeance began streaming worldwide on Netflix, reaching over 190 countries and regions. While this is the first Gundam title to emerge as a Netflix Original, the core production leadership rests with Bandai Namco Filmworks, and yet the actual animation process was entrusted to the external studio SAFEHOUSE. The team also incorporated overseas screenwriters and writers, resulting in a truly international blend. Within this framework, the show introduced numerous fresh topics that set it apart from any previous Gundam work.

After launch, the series made it into the Global Weekly Top 10 (English-language series) on Netflix, and for several weeks it even appeared in Japan’s Weekly Top 10. It’s worth noting that the Gundam franchise, while significant, is not necessarily a “mainstream” presence. While it commands a ¥150 billion market globally as a character business and stands as a major anime industry property, its fan base has traditionally skewed male, including older demographics. In other words, the Gundam series thrives on a dedicated core audience that supports it through thick and thin.

Given that, the success of Requiem for Vengeance is somewhat specialized. It performed well in an arena crowded with high-profile dramas, often missed broadcast episodes, Netflix exclusives, K-dramas, and yet it still broke into the Top 10 based on viewership (hours viewed divided by the show’s runtime). Calling this accomplishment a major event would not be an overstatement.

Still, from the perspective of a long-time Gundam fan, many likely felt a sense of foreboding when the production of this work was first announced. They may have recalled the uneasy track record of an “overseas-oriented” Gundam title or Western adaptations of beloved Japanese content, memories that often left them thinking, “Hmm, I’m not sure about this.”

This sentiment is entirely natural. After all, Japanese animation inherently carries a domestic cultural backdrop, and while certain values and mentalities may be easily understood across East Asia, localization aimed at Western audiences doesn’t always align neatly with Japanese sensibilities.

Yet Requiem for Vengeance was always intended for Netflix’s global platform, with Western markets clearly in view. Looking at the finished product, one can recognize the careful consideration extended toward the essence of Gundam. This nuanced respect may well have contributed to its success. In the following feature, incorporating insight from those involved, we’ll examine the new values this production brings to the table.

A RESPECTFUL REINTERPRETATION OF THE ONE YEAR WAR!

When the basic concept behind Mobile Suit Gundam: Requiem for Vengeance was first unveiled, it’s safe to say more than a few fans were left with mixed feelings.

As mentioned earlier, the involvement of “overseas creators” might have triggered some unease. Some viewers may have even flashed back to the MS IGLOO series, another 3D CG project portraying events from the Zeon perspective. Not that MS IGLOO was considered inferior, but it does serve as a reminder that the Gundam universe is sprawling and multi-faceted, making it inherently challenging to satisfy every angle of its broad appeal.

The original Mobile Suit Gundam was a revolutionary work that employed various tactics to draw young anime fans into a world of giant robots. Yet at the same time, it contained numerous elements crafted with children in mind. As a result, even viewed as a piece of science fiction or military drama, the original often displayed a certain looseness in its realism.

But that “looseness” was actually essential. As a TV anime and a major hit, these more relaxed aspects broadened the gateway for newcomers. Subsequent entries in the franchise also benefited from this openness, expanding the variety and reach of the Gundam brand. Indeed, that variety has in turn created countless “factions” of fandom. Whether someone appreciates Gundam as a Tomino-directed masterpiece, a military saga, a showcase for model kits, a bastion of gritty realism, or a spectacle of theatrical flourishes, the fan community is incredibly diverse. Finding a single Gundam title that could please everyone is nearly impossible. And in that sense, you might also say Requiem for Vengeance boldly took on that challenge.

It’s likely this was not a deliberate attempt to “pluck glory from the fire,” but rather a natural progression. When faced with the task of bringing Gundam’s appeal to international viewers via Netflix, the creative team likely revisited the foundational question: “What is Gundam?” The final product radiates an unmistakable respect for Mobile Suit Gundam and the subsequent Universal Century and One Year War stories. This reverence is one of the work’s key points.

Five years from now, I suspect Requiem for Vengeance will remain a valuable landmark, an ideal piece prompting all of us to reconsider what Gundam and the One Year War represent in our current era.

FOUR CORE ESSENCES OF THE REQUIEM EXPERIENCE

Let’s break down the key elements that define Requiem for Vengeance as a Gundam work. When you look closely, you realize how meticulously this production was crafted.

SET AMID THE ONE YEAR WAR’S EUROPEAN CAMPAIGN

The story of Requiem for Vengeance begins on November 6th, during the One Year War, at the European front in Romania. Historically speaking, this period precedes what can be considered the decisive, final European engagement: Operation Odessa. The Earth Federation Forces are ramping up large-scale offensives all across Europe, and this is around the time their own mobile suits first join the fray. While many previous Gundam works have focused on the main battle (November 7th–9th), Requiem for Vengeance turns its lens toward the European battlefields leading up to that event. We watch events unfold at a point where the Principality of Zeon’s forces are clearly on the back foot.

A PROTAGONIST WHO IS BOTH A MOTHER AND A COMMANDING OFFICER

Our main character is Captain Iria Solari, the commanding officer of the Red Wolves mobile suit team recently assigned to the 7th Composite Mobile Brigade of the European theater. As her subordinates fall in battles against the Earth Federation—who field not only the Gundam but a range of other devastating weaponry—she must find a way to survive. It’s already unusual in a Gundam series to feature a woman in the protagonist’s role, but Solari is also a mother, which is something quite new. Adding further depth is her background as a violinist before the war. This maternal dimension has significant influence on the story’s direction, shaping both her decisions and the narrative’s emotional core.

THE GUNDAM ITSELF LOOMS AS A FORMIDABLE ADVERSARY

Perhaps the most striking aspect of this work is how the Gundam, so often the hero’s trusty symbol in this franchise, now stands as an overwhelmingly powerful enemy. To make the Gundam a credible “villain,” the series firmly sets its protagonist on the side of the Principality of Zeon. Long ago, official magazines and other media suggested that Zeon forces referred to the Gundam as a “White Devil.” Over time, this image became something of a common understanding in certain circles, and now Requiem for Vengeance brings it vividly to life. Naturally, it’s not Amuro Ray at the controls here, but the pilot who does emerge also profoundly affects the course of the narrative.

AN ABUNDANCE OF “GUNDAM LOVE” IN THE DETAILS

As you watch this work, you encounter a wealth of subtle references that reflect a deep affection and respect for the Gundam legacy. From mechanical design and visual art to uniforms and other details, you’ll notice significant alterations—updates made to align with current sensibilities—yet none of these changes lack reverence for the source material. Whether it’s the particular phrasing of certain lines (including Zeon-accented speech) or the guest appearance of Vice Admiral Yuri Kellarny from a related Gundam work, Requiem for Vengeance is brimming with carefully placed nods that signal, “We truly understand Gundam.” These touches serve as yet another reason to appreciate this series.

ANIMATION PRODUCER & SOUND DIRECTOR HIROAKI YURA
ON THE DISTINCTIVE CREATIVE TOUCHES

In an interview starting on page 48 of this magazine (here on the site), we spoke with Hiroaki Yura, who was deeply involved with the CG aspects of Requiem for Vengeance as the head of the 3D CG studio SAFEHOUSE. Yura is not only an accomplished producer but also a renowned violinist and served as the show’s sound director. Before we delve into the larger framework of the production, we asked him—someone who oversaw both “visuals and sound” in a holistic way, about the key points he was especially particular about in bringing these scenes to life.

CONVEYING THE SCALE OF THESE “IRON GIANTS”
We included many shots from a foot soldier’s perspective, looking up at mobile suits so you could sense their terrifying enormity, that even the slightest misstep by these machines could send a human flying. Director Erasmus Brosdau told me, “Make sure we really feel their scale.” I watched Mobile Suit Gundam: Hathaway to see how they conveyed scale: like beam particles melting a fire hydrant. That was a great lesson in how anime handles scale. But I had to think long and hard about how to achieve something similar with CG. For example, we gave the Zaku’s legs a kind of Zimmerit coating detail that would stand out clearly from a ground-level viewpoint. I was thrilled that they even replicated that idea in the Gunpla models. The Zaku machine gun’s shell casings, at 120mm caliber, would be lethal if they fell from above, so we included the proper sound to convey that sense of weight and danger.

ZEON SOLDIERS ON EARTH
When it comes to depicting Earth, there’s an endless list of meticulous details we considered. For example, we had to ensure that the road signs around Odessa appeared appropriately European. Early on, we’d run into issues like, “This looks too American,” and had to adjust (laughs). In the final scenes, as they retreat into Odessa, the position of the moon is timed so that its shape and phase match the exact passage of time we calculated. We also wanted to show that for those born and raised in space, descending to Earth is an incredibly challenging experience. The Zakus they’re using are F-types, not J-types, meaning they aren’t tailored for Earth’s environment, an idea we visually emphasized. On top of that, the pilots suffer from allergies, the cold, and unfamiliar noises, things they never experienced in a colony. We wanted them to question, “Why are we stuck in this miserable place?” That feeling ties directly into the final scenes when they return to space.

NEW INTERPRETATIONS OF SOUND FOR A DIFFERENT VISUAL STYLE
The original Mobile Suit Gundam had a completely different level of visual detail compared to this production. For instance, the classic “gupohn”” sound when a Zaku’s mono-eye activates just didn’t fit the more realistic look we have here. If we kept that sound unchanged, it would feel strangely comical against these visuals. So, we asked ourselves, “What is that sound really supposed to represent?” We decided it might be the surge of massive energy flowing into the camera or sensors. As a result, we replaced it with a more electronic sound that fits the mood of this production. The Newtype sound effect is iconic, too, but leaving it unchanged would clash with the atmosphere of Requiem for Vengeance. Instead, we reinterpreted it as a kind of ringing noise mixed with something like pressure from rushing air, an effect that still evokes a Newtype presence but matches the overall tone.

MOBILE SUIT PILOTS AS ESSENTIALLY INFANTRY
This isn’t official lore, but we approached the mobile suit pilots in this story as if they weren’t Air Force-style pilots. They started out as ground infantry who eventually took to piloting mobile suits. That’s why these pilots can handle automatic rifles outside their machines. They behave aggressively, unafraid of gunfire, almost reckless, because normally they’re protected inside a mobile suit. We even considered this when designing their pilot suits. It’s not that the protagonist does these things simply because she’s the main character; it’s because she’s trained this way and can handle these situations.

REPRODUCING AUTHENTIC MILITARY BEHAVIOR
We had a military advisor who’s authored books on infantry tactics. Along with him, we brought in former members of the British and Australian armies to supervise every detail of the motion capture sessions, from the actors’ safety protocols and how they checked their chambers, to all the tiniest subtleties of handling firearms. By the time we wrapped filming, I’m pretty sure the actors could handle an assault rifle confidently (laughs). On the Zeon side, we had them converse as if they were a European-style army, using “Roger” for acknowledgment and pronouncing call signs in a European manner. The Earth Federation Forces, on the other hand, say “Copy” to acknowledge, showing an American influence. We differentiated tactics as well, representing the Federation and Zeon as if mirroring European versus American military styles.

SHOWCASING THE STRENGTH OF THE GOUF CUSTOM
We paid special attention to the Gouf Custom. Most people remember the Gouf Custom as piloted by Norris (from The 08th MS Team), but in Requiem for Vengeance it’s a standard unit, it’s not at full power like Norris’s legendary performance. So how do we convey the Gouf Custom’s “full power” moments? We decided that when the heat saber glows red-hot, that’s the ultimate expression of its strength. This was an entirely new interpretation. In this production, the heat saber becomes the weapon that ultimately takes down the Gundam. We added an appropriately intense sound when it glows red, creating a sense that this is indeed a weapon of decisive, lethal power.

MOBILE SUITS AND THEIR DESIGNS IN REQUIEM FOR VENGEANCE

Requiem for Vengeance takes the original concepts from Mobile Suit Gundam and, while preserving the core image, gives them a fresh spin for its mobile suit representations. Here, guided by comments from Mechanical Supervisor Kimitoshi Yamane, we’ll examine the appearances of these reimagined machines.

MS-06F ZAKU II (SOLARI’S UNIT)
In previous CG productions, the Zaku often appeared as a direct CG rendition of the original design. This time, since we aimed to depict a Zaku that feels truly “real” in CG form, we started by rethinking everything from that perspective. We adjusted proportions so the silhouette wouldn’t look like a “moving plastic model,” such as making the head slightly smaller. Compared to the rough concept sketches, the CG version ended up with even broader shoulders, adding noticeable heft around that area. (Yamane)

RX-78(G)E GUNDAM EX
Since this is a Gundam work intended for global audiences, I reasoned that we should spread recognition of the “RX-78” first. That’s why its silhouette remains close to the original design. Given that international viewers might approach this show as a sci-fi film rather than cel animation, I layered in details differently than one would for traditional anime. I worked after reading the script, and the imagery I gleaned from it inspired some horror-like elements: for example, the thighs evoking a femur bone or the segmented torso armor suggesting a ribcage and internal organs. (Yamane)

MS-07B-3 GOUF CUSTOM
The Gouf Custom here is actually modeled using the Zaku’s torso, so I didn’t create a brand-new design. However, if we kept the same proportions as the Zaku, the frame would have looked too thin and fragile, so I asked them to thicken it. The shoulder spikes are slightly bent. The original round shape made it unclear whether they were solid steel or hollow inside, so I added eye-plate-like details to give them more of an industrially manufactured feel. (Yamane)

MS-06V ZAKU TANK
As for the Zaku Tank, Takuhito Kusunoki handled the design work. Realistically, since the Zaku’s upper body is larger than a Magella Base, the director wanted to give it extremely wide treads. But if we made the treads that wide, it wouldn’t feel plausible. On closer inspection, you’ll see we made it a double-tread structure. There have been real prototype tanks with double treads, so it’s grounded in a certain reality.

RGM-79 GM
In the footage, the GM’s head may look like it has a mono-eye, but it’s not actually a mono-eye. What you’re seeing is a light source projecting a heads-up display onto its visor. From a cinematic perspective, this helps distinguish it from the Gundam’s twin-eye setup. The reason the GM’s visor can spin around is similar to giving the Gundam’s eyes some expressive nuance—we were looking for a way to impart character. With CG, perfect symmetry can be dull, so the detailing around the knees is deliberately asymmetrical. (Yamane)

RTX-440-B GROUND ASSAULT GUNTANK TYPE B
Initially, we planned to reuse the MS IGLOO 2: Gravity Front version of the Assault Guntank as-is. But since there were only supposed to be three units of that model, using it outright was problematic. So, we considered a variant without its transformation mechanisms. Like real-world tanks, when chassis are repurposed, you often see certain adjustments, so I flipped the base frame front-to-back compared to the Assault Guntank. Removing the sub-crawlers changes balance, and this configuration reflects a more realistic approach to the altered design.

NEW POSSIBILITIES OPENED THROUGH GLOBAL APPEAL

The mechanical designs in Requiem for Vengeance align closely with those introduced in the original Mobile Suit Gundam. On the Zeon side, we have the familiar Zaku variants and a customized Gouf. The Earth Federation fields the Gundam EX, GMs, a B-type Assault Land Guntank. Familiar weapons like the Type-61 Tank, Magella Attack, Dopp, and Saberfish also make appearances.

Two aspects of the mechanical designs stand out. First is the approach to design itself. The mobile suits have been re-imagined through the lens of “Western-style sci-fi mechanical design.” (For more details, see the interview with Kimitoshi Yamane later in this feature.)

Until now, when mobile suits appeared in 3D—whether in games or on-screen—they largely retained their original silhouettes, enhanced only by extra texture or realistic materials. That approach aimed to increase “3D realism” based on the original designs. In contrast, Requiem for Vengeance projects a distinctly Western sci-fi cinematic aesthetic. It’s not simply “mechanical realism” as if these were real machines, but rather the sensation of a plausible, live-action sci-fi universe. The slightly smaller head on the Zaku II, for instance, appears to seek a more credible silhouette, as if these machines truly exist in that world.

For a worldwide release, it makes sense that not all viewers are deeply versed in anime’s visual language. Leaning into a live-action cinematic style could be far more accessible. Adding details like variations in armaments within the same Zaku squad further heightens a sense of authentic military plausibility.

The second notable element is how these mobile suits move. Many viewers likely thought, “Yes, this is exactly how I imagined mobile suits would behave!” While robot movements in animation are, in a sense, character performances, this work balances a Western sci-fi sense of believable mechanics with the iconic Gundam flair. It appears to strive for a synergy of both worlds.

The series also employs numerous shots from a human’s point of view. Seeing the Zaku II from below, for example, lets you notice the differences in torso design and rediscover the subtle shifts from the original look. These moments of fresh perspective are a real treat.

Of course, opinions on the mechanical designs will vary from one fan to another. But the way Requiem for Vengeance renders its mobile suits—both visually and in motion—demonstrates that there’s still untapped potential in how we present Gundam’s machines and their action sequences.