"It is a donation to the emperor, it is a tribute"

■ HI-METAL R Techroid Blader

――The blader from "TECHNOPOLICE 21C" will finally be released as HI-METAL R in May 2018.
How about having a look at the real thing?

Miyatake:The story of Hans Christian Andersen's "Nightingale" came to mind. A little clockwork bird is presented to the emperor. (The HI-METAL R Blader) is truly a gift, a tribute to the emperor.
Or the invention of "Karakuri Yiemon gate"! That level. You are happy, the current user (laugh).

--Thank you!

Miyatake:A braider made by Taku Sato, a former, who was already deceased but was called "Robo Teacher" is in my house. It does not work at all, but it is cool anyway!
However, it was a garage kit.

――「HI-METAL R Techroid Blader」is a pre-painted action figure.

Miyatake:Although it is a high-priced product of 10,000 yen or more, from the value, it is not a price anymore!
As a matter of fact, it is natural that the solid of "Karakuri Gyouemon" level is available as a product. I can not imagine a bit.
It is exactly an order of magnitude completion.

- During supervision, when you look at exploded diagrams and internal illustrations, Miyatake received a reaction from Mr. Miyattui "I did a great thing", but ordinary users do not notice noticeable moving mechanisms everywhere We adopt it.

Miyatake:The emperor will not even think about the structure of the mainspring's Nightingale.
On the other hand, if you let the customer think about it, I think it is disqualified as a professional. Watching with delight, having it touched, playing as you like, and without breaking ... ... Of course, if you do extreme things you will be destroyed.
If you are a fan of adults with good sense at all, (laugh).

- Please do not break down Mr. Miyattu and the user (laugh).

Miyatake:Users who buy 4 boxes for missionary or preparatory purposes such as saving, exhibiting, disassembling, and giving to others when it comes to emergency may also come out ... It is a bad time (laugh).
But eventually I want it at that level. Actually I do not mind the internal structure, I would like to have fun.
You should want to reproduce it firstly with knee standing drawn by illustration or flying down.

--I agree.

Miyatake:I want you to be surprised with "I can!" "I can do!" Is nice, but after that you will see the question "Why can you do it?"
Decomposition is at your own risk ...... I am desperate to suppress the temptation that myself will open (lol).

- There are some places to omit, and the attachment / detachment mechanism etc. of hydrogen energy unit and video cassette etc are not reproduced. As a development side, it is the result of prioritizing pose reproduction ... ....

Miyatake:I think so. After all I saw that the braiders were decorated with the pose of the setting picture of the time at the shop, I will buy it after all (laugh).

"If it is a giant robot animation work such as Super Robot, it will get angry (lol)"

■ Design of Techroid Braider

- Please tell us about the design of "Tecloid Braider".

Miyatake:Initially, it was decided to make it with a wearing a braider, but if you can increase the details first on the design unlike anime.
However, worrying what to do with the material feeling. "Mach baron" had a sense of hardness if I was suffering from a different expression ... ... as opposed to a costume like "magma ambassador" "wrinkle".
I consulted Toho san side, OK gotten OK material as well.

- Is there a design unique to "Costumes"?

Miyatake:If you attach armor to black rubber suit by panel division, increase the details and set up metal parts and mechanical parts, it should look realistic.
If you make your elbow double joint, we will set it while thinking that the movement of the joint during action will look naturally.

- By the way it seems that sometimes we tried working with cardboard at the setting of the powered suit, but did the braider also trial-built?

Miyatake:It was not the studio that made that (cardboard work). (Brader is drawn in a single shot. Because we could assume that mobility would be okay if we could make room for this much space.
Suit assistant should ask a slim person, but mostly they are all thin. If you make it with a margin size, there are also double movements of the elbow, so arm actions were also possible.
By thickening the part of the arm, not to show too much wrist, it is becoming not to let people feel.
It does the same thing also in "Mach baron" "powered suit".

- Although it turned the direction to the animation setting, the detail is not small as well.

Miyatake:If it is a giant robot animation work such as Super Robot, it will get angry (laugh).
However, I was told that "It has become somewhat simpler" because of the relationship I had originally thought about in a costume (laugh). Rather, there is a feeling that it is not allowed to make it more simple.

- How is Scanney 's design?

Miyatake:Regarding the cleanup of Scanny, Shoji Kawamori (※ Affiliated with Satelight. Vision creator. General director of "Macross Delta". Formerly affiliated with Studio Nue) also helped out with ideas. I think the "pigtails" were Kawamori's idea.
It should have said that "How do you move freely and sense?"
The image of hanging stockings in a sailor uniform with a garter belt is my idea. While thinking that it might be a bit dangerous, I counted it as "it's OK, it's a criminal (deca)" (laugh).
However, while making the line as hard as engineering hard feeling, I wrote the whole silhouette into a feminine impression on it.

- The thigh has no roundness and there is a hard image.

Miyatake:It is square. While becoming feminine by squeezing it narrowly, I designed it with a feeling of being split and strike, avoiding the drop in mecha.
Looking now, I also feel that "This is a little too narrow?" The chest is conscious of the thorax part.
I opened the chest panel, but that is imitating Astro Boy (laugh). Chest, well, it is slight tits.

- At that time, Mr. Miyatake had drawn a high-detail drawing on the back of the braider, is there a front also?

Miyatake:I do not remember drawing it. Probably I drew it ... ... In my mind, I became a braider for anime decision titles.

- There was something I said of myself as "high-detail syndrome" at that time.

Miyatake:Sometimes the timing is right after "Farewell Jupiter". I am accustomed to high detail at "Sayonara Jupiter", and it is hard to cut away after changing to painting on the way ... (laugh).

――"Sayonara Jupiter" was released in 1984, and "TECHNOPOLICE 21C" was released in 1982, so isn't "TECHNOPOLICE 21C" first?

Miyatake:Actually, 'goodbye Jupiter' (it takes time to produce) takes time. Komatsu Sakyo san asked me to draw a piece first, because I do not know whether I will become a thing at first. It's been several years since then.

- I was dealt with "Farewell Jupiter" was earlier.

Miyatake:Mr. Masaharu Ogawa was making a miniature model.
He is the man who has approached the studio earliest than Kawamori Masaharu. Based on the drawing of Discovery that I drew for doujin publication to be published in the 1960s in the 1960s, I made a 2m model while strolling through the studio.
It was a gathering of people who liked models and science fiction, including Kawamori and Haruhiko Mikimoto (an illustrator, character designer, and manga artist who was responsible for character design in "The Super Dimension Fortress MACROSS." He was a high school classmate of Kawamori).
We thought, 'I am working hard all of this!' "(Laugh).
With such a relationship, Mr. Ogawa will make a model of "goodbye Jupiter".

- Mr. Ogawa is the representative of Ogawa modeling who also worked on "Godzilla" series and "Ganhead", right?

Miyatake:He had a tremendously high producing ability since high school.
Naturally the ability as a business manager is also high. When I showed Komatsu-san the model of the cargo that was completed at the beginning, hugged (model) with "Gashiru" (my grandfather!) (Laugh).
Ogawa was pleased to cry.

- Have you actually used it as a prop?

Miyatake:The shooting scene at the time was pretty rough, so somewhere was broken like every day during shooting. As I did everyday I was restoring at the Toho studio.
Kawamori and Miki books were also borrowed on site. It was men who tried hard without knowing the limits (laugh).
They are being beaten at such a scene and they have been brought up while showing their ideals and reality.

"It was the start to see if I could make more full-scale SF"

■ Birth of “TECHNOPOLICE 21C”

――Please tell us about TECHNOPOLICE 21C. Are the titles and names of the works named by Mr. Miyatake?

Miyatake:Is it "Techno Lloyd" or "Techroid"? Then "Technopolis" or "Feature Police"? I had a hard time naming it.
Kenichi Matsuzaki (* Scriptwriter, one of the founding members of the studio Nuu) was objectioned to attach "C", but it was attached (laugh).

- What is the official reading of Chinami "21C"?

Miyatake:It is [Twenty One Century]. Well, I call it simply [sea] (laugh).

- As before, I had a story saying that at the beginning of the project was a live-action special effects work rather than an animation, what kind of circumstances was it?

Miyatake:Toho san, there was a story from Mr. Tomi Toho mainly. It was the start whether I could make more real SF.
It would be easy to make future cities with miniatures rather easily. It costs a budget, but once it builds it.
Whether it is a braider or a scanner, using special effects or miniatures should be capable of absolutely high quality.
It seems that the character thought that it is easy to combine animation drawing.

- That will be replaced with animation work.

Miyatake:It is a part which the designer does not understand, but it may not have produced a balance of production, production management, various things. Matching around that part is actually the most difficult part. Because I could not make it on staff work nor on budget (on a live-action basis), I think that the idea of ​​Toho who is putting it in animation was not wrong.

- There will be a lot of difficulties in producing and producing works.

Miyatake:Toshimitsu Suzuki was the producer of "TECHNOPOLICE 21C". he is an idealist.
That's why I pushed through these difficult projects to the end. I have been involved in "Star Blazers" since its launch, and the producer at that time was Mr. Nishizaki (Yoshinobu).
In a sense, it was the best producer in Japan. If you do not have enough hands on the scene, you can move people even if you have money, call me, hit your butt.
I learned how to sit on that side of the neighborhood, how to adjust the schedule, and then asked for ideals. Mr. Nishizaki was orders of magnitude, did not he?

"To some extent, if you do not go over it, you will not be talking about it"

■ From "TECHNOPOLICE 21C" to "The Super Dimension Fortress MACROSS"

- In fact, the fact that the site was also confused by having become animation main?

Miyatake:Noboru Ishiguro, who has been with us since the time of "Star Blazers," helped me by saying, "I'll do the storyboards for the production."
Mr. Ishiguro was born from an insect professional, when he was young, he was an effect drawing man with a top class skill.
It became the first director of "Star Blazers". That complicated modeling Yamato moved firmly with Toyoo Ashida (* animator who worked on Toei, Sunrise works, etc., also famous as the character design of "MASHIN HERO WATARU").
Mr. Ishiguro stood up and made a storyboard by myself. Creating characters was quite amusing and gave me various ideas. So I did not mind about painting hardly.
That lack of concern also influenced "The Super Dimension Fortress MACROSS" (laughs)... I guess it was a "negative" influence.

--There are a lot of staff members in common between "TECHNOPOLICE 21C" and "The Super Dimension Fortress MACROSS."

Miyatake:Mr. Ishiguro loves science fiction ... ... It is probably the person in the supervision of that generation in the animation circle, the person who understands SF at all.
On the other hand, at the time, there were few people in the anime industry who could talk to Ishiguro about science fiction, so he ended up getting closer to Studio Nue. That's how he ended up working on "The Super Dimension Fortress MACROSS."
"TECHNOPOLICE 21C" taught both me and Kawamori. This is an anime where I experienced such things as studying produces studying and connecting to the next.

- Is it also a piece pretty much packed with ideals?

Miyatake:It is easy to appreciate idealism, but what can (indeed) be possible in reality? Is it OK with this system as a site that really embodies our image? Or should we retreat slightly, is it better to touch with the waist pulled one step further from there? Therefore it is possible to change the design.
We learned that kind of know-how the most during TECHNOPOLICE 21C.
However, to be honest, in fact, at that time, in making animations in a general sense, I had stepped into the level that I would not be allowed.
The same was true of "The Super Dimension Fortress MACROSS."

--Your experience working on "TECHNOPOLICE 21C" was put to good use in "The The Super Dimension Fortress MACROSS."

Miyatake:That said, "The Super Dimension Fortress MACROSS" was a total mess though (laughs).
We always have something in the studio to say "It will not be a talk if you do not exceed a certain extent."
Of course, if it says "It is the result of studying?", It is over.

--In a sense, "TECHNOPOLICE 21C" seems to be an essential work for the birth of "The Super Dimension Fortress MACROSS."

Miyatake:I am also attached to it. I was ashamed of that. At the same time as I'm glad I did it, that hardship has now paid off in the form of "HI-METAL R".
Now that this (...) arrives at my hand is not as good as it is already. In various ways "I have crossed the time".

――I think that `` HI-METAL R Techroid Blader '' was an item that we wanted to do. I received a lot of compliments today, and all the hard work in development paid off (laughs).

Miyatake:I can not keep praising (laugh).
Far from aristocracy, it was made at the level of the offering to the Emperor exactly. I thought it was my heart.

- Thank you very much for today.

HI-METAL R TECHNOPOLICE 21C special site is here!

HI-METAL R Based on the respect for the historic HI-METAL series, this brand rebuilds and renews products with the latest in technology while retaining the "transformation" and "composite material" elements that make up the series.

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