"HI-METAL R Techroid Blader" Commercialization Commemorative Special Interview with Mechanical Designer Kazutaka Miyatake
"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：アンデルセンの「小夜啼鳥（ナイチンゲール）」の話※が思い浮かびました。ぜんまい仕掛けの小鳥が皇帝へと献上されるんですけど。（「HI-METAL R ブレーダー」は）まさに皇帝への寄贈品、貢ぎ物ですよ。
Or the invention of "Karakuri Yiemon gate"! That level. You are happy, the current user (laugh).
--Thank you!
Miyatake：すでに故人ですが“ロボ師”と呼ばれた造形師の佐藤 拓さんが作ったブレーダーがうちに居るんですよ。まったく動かないけど、とにかくカッコイイ！
However, it was a garage kit.
――「HI-METAL R Techroid Blader」is a pre-painted action figure.
Miyatake：1万円以上の高額製品ですけど、その価値から言って、これはもう値段じゃない！
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：皇帝は、ぜんまい仕掛けのナイチンゲールがどんな構造になっているかなんて考えもしないじゃないですか。
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：保存用、展示用、分解用、あとはいざというときに人に譲ったりなどの布教用or予備用の4箱買うユーザーさんも出てくるかも……嫌な時代だな（笑）。
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：「できる！」と驚いてほしい。「できる！」はいいけど、その後に「なんでできるの？」という疑問がわくでしょうけど。
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：まさにそうだと思います。やはり店頭でブレーダーが当時の設定画のポーズで飾られているのを見たら、やっぱり買っちゃうでしょうしね（笑）。
"If it is a giant robot animation work such as Super Robot, it will get angry (lol)"
テクロイド ブレーダーのデザイン
- Please tell us about the design of "Tecloid Braider".
Miyatake：当初、ブレーダーを着ぐるみで作ることになったのですが、まずデザインの上でアニメと違ってディテールは増やせると。
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：黒いゴムスーツの上にパネル分割で装甲を取り付けたり、ディテールを増やして金属パーツやメカパーツを設定すれば、リアルに見えるはずと。
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：あれ（ダンボール工作）を作ったのはスタジオぬえじゃないですよ。（ブレーダーは）一発で描いています。これだけスペースに余裕を作れば、可動は大丈夫だと想定できましたから。
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：もし、スーパーロボットなど巨大ロボットアニメ作品だったら、怒られますね（笑）。
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：スキャニーのクリーンナップに関しては河森正治（※サテライト所属。ビジョンクリエーター。『マクロスΔ』総監督。元スタジオぬえ所属）にもアイデア出しを手伝ってもらいました。“おさげ”は河森のアイデアだったと思います。
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：四角いです。細めに絞ったことで女性的になる半面、メカっぽさが落ちるのを避けて、割とストンとした感じでデザインしました。
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：描いた記憶は無いんですよ。おそらく描いたでしょうけれども……僕の頭の中では、アニメ決定稿のブレーダーになっています。
- There was something I said of myself as "high-detail syndrome" at that time.
Miyatake：時期が『さよならジュピター』の直後ということもあります。『さよならジュピター』でハイディテールに慣れてしまっていて、途中、作画に替わってから、削るのが大変で……（笑）。
――"Sayonara Jupiter" was released in 1984, and "TECHNOPOLICE 21C" was released in 1982, so isn't "TECHNOPOLICE 21C" first?
Miyatake：実は『さよならジュピター』は（制作に）時間がかかっているんですよ。小松左京さんから依頼があって、最初はモノになるかどうかもわからないところから、まず1枚描いて。それから数年間ですから。
- I was dealt with "Farewell Jupiter" was earlier.
Miyatake：ミニチュアモデルを小川正晴君が作っていました。
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：彼は高校生当時からものすごくプロデュース能力が高かった。
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：当時の撮影現場はかなり荒っぽいので、撮影中、毎日のようにどこかが壊れるわけです。毎日のように東宝のスタジオで修復していました。
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"
『テクノポリス21C』の誕生
――Please tell us about TECHNOPOLICE 21C. Are the titles and names of the works named by Mr. Miyatake?
Miyatake：「テクノロイド」か「テクロイド」か？ それから「テクノポリス」か「フィーチャーポリス」か？ 命名には苦労しました。
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：[Twenty One Century]です。まぁ、単純に[にじゅういちシー]と呼んでいますけどね（笑）。
- 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：東宝さん、主に東宝特美さんの方からお話があったんです。もっと本格的なSFを作れないかというのがスタートでした。
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：デザイナーにはわかりきらない部分ですが、プロデュース、プロダクションの運営、色んなものの折り合いが付かなかったのかもしません。その辺のマッチングは実のところ一番難しい部分です。スタッフワーク的にも予算的にも（実写ベースでは）作りきれなかったので、アニメーションに落とし込んでいく東宝さんの発想は、間違っていなかったと思います。
- There will be a lot of difficulties in producing and producing works.
Miyatake：『テクノポリス21C』でプロデューサーを務めたのは鈴木敏充さん。彼は理想主義者。
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"
『テクノポリス21C』から『超時空要塞マクロス』へ
- In fact, the fact that the site was also confused by having become animation main?
Miyatake：『宇宙戦艦ヤマト』の時からのお付き合いのある石黒昇さんが「演出の絵コンテまではやるよ」と手伝ってくれました。
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：石黒さんはSFの大好きな……おそらくアニメ界のあの世代の監督業の方で、SFをもっともわかる人。
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：理想論を振りかざすのは簡単だけど、では現実には何が可能（やれる）のか？ 本当に僕らのイメージを具現化する現場として、この体制でOKなのか？ もしくは僕らは少し後退しよう、そこから腰を一歩引いた状態で接した方がいいのかどうか？ そのためにデザインを変えることも可能であると。
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：と言っても『超時空要塞マクロス』はやはりメチャクチャやりましたけどね（笑）。
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：僕としても愛着があります。それこそ恥もかいたし。やって良かったなと思うのと同時に、あの苦労が今になって「HI-METAL R」になって返ってきましたから。
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：褒めずにいられないですよ（笑）。
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.
*Images are for illustrative purposes.
HI-METAL R Techroid Blader
Price: 10,584 yen(tax 8% included)
Release on May 26, 2018
> Products Click here for details
HI-METAL R Techroid Blader 【Amazon only "Technopolis 21C" Blu-ray DISC attached version】
Price: 13,824 yen(tax 8% included)
Released in May, 2018
> Products Click here for details
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.
- © TOHO CO.,LTD.
