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A momentus moment has come to S.H.Figuarts. The figure series for popular comic "Berserk" has finally begun.
The first in the series, GUTS, arrives in September. The second, GRIFFITH, comes the following month. To commemorate these releases, we spoke with the head of prototypes, Kyo Nagashio, about the appeal of the series. Mr. Nagashio is the prototype sculptor for the SHINKOCCHOU SEIHOU series, from which GUTS and GRIFFITH have been modeled in the same method. Not only that, but these figures utilize Tamashii Digital Coloring Technology, in a rare instance of the technique being used to recreate two-dimensional characters. All of this comes together for figures with specifications which are truly the pinnacle of action figures. So, how were S.H.Figuarts Guts and Griffith developed? The threads bound by the law of cause and effect are now tied together!

■ Tamashii Digital Coloring Technology

――First of all, how do you feel about the product samples in front of you?

Nagashio: I'm very happy. I always think that the ultimate stage for action figures is the finished sales item. In the case of statues, the painted prototype is the ultimate stage, and then it is simplified for production. Because action figures are products that include movability, this is an even better stage. These are at the product sample stage now so there are proper joints, so this is the first point (in development) at which we can move them as much as we want.

――How is the reproducibility of the prototypes?

Nagashio: I feel that they're very reproducible. The coloring is perfect too. I think that the recent trends in figures strive for very elaborate designs and coloring, but Berserk isn't like that. I think that the reproducibility is high because the coloring is simple.

――As the person in charge of the prototypes, what do you think are the highlights?

Nagashio: It's got to be the faces. I think the faces for both GUTS and GRIFFITH came out perfect.

――Did you have a hard time sculpting the faces?

Nagashio: We did. However, since our company is in charge of the SHINKOCCHOU series of figures, the prototype is modeled from the bone structure out. In terms of methodology, I think it's pretty close to how Kentaro Miura (the artist and writer of "Berserk") and everyone at Studio Gaga (which is continuing the series) intend to depict the characters. Thanks to them, I was able to get approval from the supervision of the faces in one shot. I think that is something I can be proud of (laughs). We also made good use of Tamashii Digital Coloring Technology this time.

――That's a technology usually used to recreate the faces of real people and characters in live-action movies.

Nagashio: That's right. This time was a rare attempt for anime and comics, but I think it really worked out. In realistic works, the eyes are inevitably small, so it's difficult to reproduce the face. When it was decided that figures would be made from the "Berserk" series, I thought that sculpting the faces would be fine, but the coloring would be difficult. However, during development, there was talk of digital coloring. One good thing about digital coloring is that you can make prototypes here in Japan without relying on overseas manufacturers. When the first prototype came out I really felt like, "This is going to work!"

▲ The prototype of GUTS' face by Mr. Nagashio. The head was digitalized and then coloring data was created through Tamashii Digital Coloring Technology. It enables precise coloring at a extremely small levels, like this face part at approximately 2 cm in size.

Manager of Product Planning:  The person in charge of digital coloring has a lot of love for "Berserk," so they went all out in making the necessary adjustments to Mr. Nagashio's colored prototype.

――During modeling, were there any aspects unique to Berserk that you were conscious of?

Nagashio: There aren't many things that are different from other works. In any case, I make the figures as faithful as possible to how they are drawn in the original work. It's about design. However, these took a long time to make.

――More time than prototypes typically take?

Nagashio: Yes. In my career as a sculptor so far, these characters have taken the most work. It feels like they required power on all fronts. First of all, it is necessary to accurately understand the accurate shape of the physical body and the structure of armor to model it. Armor needs technology and factors that are different from modeling the human body. There are so many surfaces, including mechanical structures such as the artificial arm, bowgun, and cannon. Also, we had to test out so many things, such as how to complete the cloth cloaks (laughs).

――How were the cloaks made?

Nagashio:For the cloaks, I went to Mr. Yamamoto of "Ningyo Kobo," who makes dolls and costumes for puppet animations. Normally, I would ask someone in the apparel industry to do the work, but apparel is sewn as (part of a larger) process, isn't it? But in the case of puppet animations, visible seams will break the sense of scale, so we glued them as much as possible, then inserted wires so they are movable. The sense of scale is also very close to the figure. It's one of the highlights of this production.

Manager of Product Planning: The cloak has a rather complicated die cut, but it turned out the person in charge at the factory is a fan of "Berserk," so he did his best to fulfill our absurd requests.

Nagashio: Liking the work is pretty important (laughs). The pattern of the cloak and the undulating print were sampled from the original work and incorporated into the design. These are techniques we haven't tried much before.

――So these figures went through a lot more processes to reach completion than a typical figure.

Nagashio: What you notice as you go along is that everything overlaps with Guts from the series. "Berserk" clearly depicts what's necessary for a single human to defeat monsters. He needs a giant sword, as well as tools, armor, and a cloak—and Guts has all of these things for a reason. All of that really comes through in the modeling process.

――In a sense, is it like reproducing the character's way of life through modeling?

Nagashio: It's a pretty amazing story, right? All of those things are depicted in the art for a reason. Once once you try to sculpt all of that, you understand how incredibly difficult [that life] really is (laughs). It's all represented in the form. It could be a scar or a wrinkle. Mr. Miura depicted all of these things in his illustrations to communicate that.

――It's like you're experiencing Mr. Miura's work process, right?

Nagashio: That's right. When working as a sculptor, I feel that I can really create something good when I am deeply involved in a work. I noticed that a lot this time. It was an interesting—no, it was a good experience.

■ The Same Level of Modeling as the “SHINKOCCHOU SEIHOU” Series

――How are the prototypes made?

Nagashio: We used pretty much the same method as the SHINKOCCHOU series. Just like there, we modeled from the bone with clay. It begins as a handmade prototype, or analog modeling. Even when we talk about (modeling) from the bones, the form still originates from the characters, but for "Berserk," Mr. Miura has created very precisely detailed materials. He even left sketches of the characters unclothed.

We drew the bones in this, then worked backwards from there to create the muscles and body. In the case of an action figure, symmetry is very important, so the first half of the body is created while reflecting the image on a stainless-steel mirror. This is in imitation of the sculping master, Takayuki Takeya. I cast a replica of what I made with clay, and digitally scanned one with the joints drawn on it. Then the digital work involves scanning and mirroring the data to combine the left and right sides to create the prototype as a whole.

▲ The front-view sketches by Mr. Miura and the prototype of Guts by Mr. Nagashio. Half of the body is modeled (and combined with) the reflection in the mirror. Starting from the bones, then muscles, flesh, and finally the armor.

――Did you also modify the prototype digitally?

Nagashio:We used digital methods to brush up on the details. Like applying the results of editing and refining details. Of course, it feels like I'm making it while repeatedly having conversations like, "After production, this part should work a little like this," with the head of planning.

――Are there any times when you made corrections to the prototypes by hand at the output stage?

Nagashio: There were quite a few. When we first outputted with joints added, the gaps were narrow, so I fixed the molding around there. For example, adding molding after the knee is bent. I think that the degree of perfection will differ depending on whether or not such small additions can be made. In fact, even after the first handmade prototype is completed, only about one-third of the work is done. The other two-thirds of the work continues with adding and adjusting the joints.

――Were there any difficulties with the modeling and structure of the armor?

Nagashio: I personally didn't have much experience making armor, so I thought it would be difficult. But since Mr. Miura was very meticulous in his depictions, I felt to a certain degree like, "If I just make it according to the materials, it should be able to move."

――So there weren't many 3D issues in the sketches?

Nagashio: Only a few. It made me wonder if Mr. Miura had a real version of the Berserker Armor in his room (laughs).

――You said earlier that the supervision of the face was done in one go, but how was the supervision of the armor?

Nagashio: I got a lot of advice on the armor. What's more, I received handwritten instructions with illustrations. This kind of supervision is very rare these days. Usually, we check red lines and letters written on photo printouts. It was a very fun supervision. Maybe the most wonderful supervision I've had to date. Whenever we had any questions, the information was collected, and everything was shared with us. I think it's amazing how the structure and intentions that Mr. Miura had in mind were all communicated to the staff at Studio Gaga.

▲ Some of the materials provided by Studio Gaga during supervision (left image). There is a detailed description of Griffith's method of holding the reins.

――In a sense, you unravel the background of the series through the modeling process.

Nagashio: When you recreate everything while confirming the meaning of the setting, the quality improves. All shapes have a reason. Another thing we got lot of instruction on was Griffith's bird motif.

――He's called the "Hawk of Light," isn't he?

Nagashio: Now that you mention it, that's true. All his designs have a bird motif. For instance, we recieved instruction like, "Please make this piece of armor resemble a beak." For that reason, I had to research the structure of bird feathers (laughs). I guess that's something compatible with my interests. As a sculptor, learning new things is no problem.

▲ Some of the materials supervised by Studio Gaga. Detailed instructions such as the degree of bend at the back of the helmet and the shape of the knee guard are included.

――So you have to research non-human skeletons too.

Nagashio: That's right. There's a lot of work in that vein. But I actually like it, so it suits me.

――GRIFFITH also comes with a horse, right?

Nagashio: And the horse is modeled from the skeleton up too (laughs).

――Was it difficult because horses have a different structure from people?

Nagashio: Actually, I believe that anyone can make a depiction building from the bones up if they have the information. I usually teach at a vocational school, and I'm always telling my students that since the knowledge of anatomy acquired by our predeccessors during the Renaissance still remains in books, it would be a waste not to use it. Because of that, it doesn't really matter that it's a horse. I make it thinking that it's the same as a human being.

Manager of Product Planning:  It's not just a horse, but the horse of the reincarnated Griffith—a god. So we were instructed to make its face and legs thinner than usual. They're different from those of normal horses.

Nagashio: It kind of looks like a dragon, doesn't it?

――You can really feel the way the muscles are attached, and its glossiness (of its coat) is realistic, as well.

Nagashio: That's the natural consequence of making it starting from the bones (laughs). We couldn't spend much on coloring, but I'm glad that the current color coding makes it look the way it does.

――How about the posing?

Nagashio: The poses in the midst of fighting. The scenes where Guts wields his greatsword and battles are, after all, emblematic to the series. I would like everyone to recreate them even in the product photos and packages. This kind of pose especially makes use of the cloth cloak option.

――Is there a character you would like to try in the Berserk series in the future?

Nagashio: Zodd seems like he'd be fun.

――A fixed large-size figure, such as with FiguartsZERO?

Nagashio: But I'd like it to be movable.

Manager of Product Planning:  I think you can definitely make it movable. Please make it move, Mr. Nagashio! (laughs)

Nagashio: I have a lot of dreams, but of course there's also reality to consider. The sales we get are vital to being able to continue, so it also depends on the support we get for GUTS and GRIFFITH.

――The response to the series has been great since it was announced.

Nagashio: I got a lot of compliments for the face on social media. Some people said that it was "the definitive version." I think this kind of action figure for "Berserk" can only be made with the latest technology, such as the Digital Coloring Technology for the faces and the complex construction of the cloth cloaks. Plus, this time, the person in charge of planning gave me a lot of freedom. He fought hard for us so that we could produce what we really wanted to achieve.
The staff also got people who really like "Berserk" to gather together. I think this work went so well that I can't think of how it could have come out any better.

──Thank you very much.

S.H.Figuarts GUTS (BERSERKER ARMOR), the first entry to the "Berserk" series discussed in the article, is released in retail stores on September 30!
The product package design, which is not revealed in this article, will be shown in the product sample unboxing video coming soon!