S.H.MonsterArts Interview

Bandai Tamashii Nations - S.H.MonsterArts SDCC 2024

July 26, 2024

Interview by The Articulations Series

Head of Live Action Figure Product Planning Team: Godzilla

Translator - Shaun Leitmeyer, Brand Manager Tamashii Nations

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THE ARTICULATION SERIES (TAS): I’m here with Mr. Osako, head of Live Action Figure Product Planning Team for Godzilla, and Shaun Leitmeyer, Brand Manager Tamashii Nations, who will be providing translation. Thank you both for being here and taking time to speak with me about Godzilla & the S.H.MonsterArts line.

OSAKO: Thank you. Happy to be here at San Diego Comic Con. So cool!

TAS: What is your specific role in the development of S.H.MonsterArts figures?

OSAKO: In the very beginning, I pitch the idea and concept for the next monster to be made. From there, it goes to R&D, who handle the prototype, including sculpting and implementing joint mechanisms. The prototype is then sent to the factory for production samples, which are reviewed and adjusted as needed. To clarify, I don’t do the sculpting myself, but I coordinate the entire process. I’m also involved in taking promotional photos and designing the packaging. Toward the end, I work with the promotions team to ensure all details are correct and that the product is accurately solicited. So, my role generally involves proposing the monster, overseeing its creation, and planning how we’ll sell it.

TAS: So, you're the driving force behind S.H.MonsterArts decision-making. You conceptualize the figures and determine what both fans and yourself want to see in the line.

OSAKO: Yes. In Japanese, I’m like the heart & soul of the brand or the product. For Tamashii Nations, 'Tamashii' means 'soul,' and Bandai Spirits represents the spirit of the fans. That’s why the logo features a heart with a spirit-like design. I put my heart and soul into this as well, fighting for fans to bring their dream figures to life.

TAS: Very cool! I’m sure some of our readers didn’t fully know the meaning behind the logo, so it’s great to see it explained like this. Thank you for putting your heart and soul into the line.

OSAKO: You are welcome!

TAS: When deciding on the next monster for the S.H.MonsterArts line, what is the decision-making process for choosing which figure to produce next?

OSAKO: Over time, we've developed a strategy that works well. When an enemy monster appears, we often aim to produce a corresponding Godzilla figure, or vice versa. The licensor, Toho, also provides us with ideas for figures they'd like to see in the S.H.MonsterArts line. Another key factor is the feedback we receive from customer surveys. We want to bring your dream figures to reality, so please fill out our surveys when you can.

LEITMEYER: I wanted to add that, in the case of Yu-Gi-Oh, we introduced it as a category in our surveys a while ago after receiving numerous customer requests for monsters from that series. Today, we’re three releases in with more on the way. So please, be sure to fill out our surveys to share your opinions on future characters for the S.H.MonsterArts line.

OSAKO: I prepared the survey at the Godzilla booth, so I look forward to reviewing everyone’s favorite monsters they’d like to see in the S.H.MonsterArts line.

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TAS: Speaking of surveys, are there regional differences in opinion, such as a greater emphasis on Japanese versus Western preferences, or is the process more balanced between the two now?

OSAKO: Originally, our focus was very Japanese because that was our primary consumer base. However, with Godzilla’s growing global popularity, we’re definitely taking into account feedback from our overseas customers through means like social media. So, it’s no longer just about the Japanese market anymore.

TAS: I’ve been around long enough to remember when the focus was mostly on the Japanese market, so it’s great to hear that Godzilla feedback on a global level is now taken into account more than ever.

OSAKO: Of course!

TAS: When a character is selected for the S.H.MonsterArts line, how long does the process take from concept to the end of production?

OSAKO: On average, the process from concept to solicitation can take about a year. This timeline varies depending on the character. For more complex monsters like Biollante and Iris, development can take up to two years due to the time required for sculpting and articulation engineering.

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LEITMEYER: It’s interesting too because these are monsters that have already existed unlike ones that use 3D data from recent movies. Classic monsters can take a long while to produce because they’re being hand sculpted and updated with feedback from the licensors and other parts of the design process.

OSAKO: Yes. Also working with modern characters like Minus One and the Legendary movies, sometimes we have characters where the reference materials are based on concept art, 3D data, or a mix of both. Because these figures are meant to release alongside the movie, they generally take about a year of development.

TAS: Since you brought it up, can you explain the process of developing a figure for Legendary's MonsterVerse? Specifically, how do you manage the timeline from the start of production to the figure's release, ensuring it aligns with the film's theatrical debut while also maintaining accurate details from the movie?

OSKAO: First, we receive concept art, including CG images that closely match the scenes from the movie. We have a limited timeframe to design the sculpt and communicate any necessary changes with the licensor to ensure the figures are ready for release alongside the movie’s theatrical debut. We incorporate these elements as soon as we receive them. The process involves sculpting the figure, creating a prototype, and then sending it to the factory. Based on the sample, we discuss any updates or changes with the licensor. How much information we receive and how much we can incorporate is the most difficult part, because eventually there is a cutoff point where it must be sent to the queue at the factory for production. Sometimes it’s a very close call, but we strive to make the figure as accurate to the on-screen character as possible and hope you enjoy it.

TAS: Okay, to clarify to our readers, when you say CG images, are those 3D digital assets or a 2D references of a 3D model?

OSAKO: They’re 2D references of the 3D models.

TAS: Okay. For figures that aren’t released alongside the movie's theatrical debut, like Skar King or Shimo, and say their appearance changes in the final film compared to the S.H.MonsterArts version, is there still time to redo the sculpt, or is it too late by that point?

OSAKO: It depends on the situation. Sometimes, if the changes in the movie are subtle, we often have to move forward with what we have because of production deadlines. That said, we try to update the sculpt as much as possible, but sometimes, due to time constraints, we can't make adjustments to match what appears in the movie, especially if we haven’t seen final production examples of these characters by the time they’re submitted to the factory queue.

TAS: Interesting. So, in a hypothetical scenario where figures are released but don't perfectly match what's seen on screen, would it be possible to update the sculpt using the final 3D data for characters like King Ghidorah (2019) or Shimo if a second version of the figure is produced?

OSAKO: It might be possible in the future. For example, if Shimo were to appear in another movie, we could then re-sculpt the figure based on the updated features. By that time, we would hope to have access to final assets to ensure the figure accurately reflects the character as seen on screen.

TAS: Speaking of 3D data, regarding the prototypes for Godzilla X Kong: The New Empire on display, we know that Godzilla uses 3D data along with additional sculpting by Yuji Sakai. What about Skar King, Suko, Mothra, and Shimo? Do they use any CG data, or are they hand-sculpted?

OSAKO: We were able to use 3D data for the Godzilla (2024) [Evolved Ver.] but the other figures don’t use 3D data and are entirely hand-sculpted.

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TAS: Let’s talk about sculptors for the S.H.MonsterArts Godzilla line. The main sculptor is of course Yuji Sakai, but there’s been other sculptors involved who had their hands on the actual suit production seen in the movies. This includes Shinichi Wakasa (Godzilla vs. Mechagodzilla 1993 & Gamera 2: Attack of Legion), Takafumi Takahashi (Godzilla vs. Spacegodzilla), and Shinada Fuyuki, (Godzilla vs. Biollante). Are there other sculptors involved with the Godzilla line as well?

OSAKO: There are other sculptors involved who wish to remain anonymous. If they choose to publish their names, we include them in our product descriptions. To clarify some of the names you mentioned, Takahashi-san and Shinada-san supervised and consulted on the figures' designs, but they did not sculpt them directly. Their input was invaluable during development. Additionally, Shinada-san was involved in overseeing the commercialization of Iris.

TAS: Let’s talk about accessories for the line. Sometimes figures come with accessories, and sometimes they don’t. How is the decision made regarding which characters come with what accessories?

OSAKO: With Godzilla, it’s challenging. We aim to create really cool figures, but including effect parts can significantly increase costs. To keep the figures more accessible to customers, we sometimes have to make compromises, such as omitting effect parts. However, we may plan special releases in the future, like a Decisive Battle Version or Heat Ray Version, where we aim to make these releases extra special by including those accessories. For certain characters, like Gamera, it's important to include accessories from the start because of the character's different forms.

TAS: With that in mind, the Godzilla (1989) [Exclusive Edition] is available for attendees and will be accessible to the general public in the US through the USA Premium Bandai website and Tamashii Nations Store New York. Initially, there was hope that it would include a heat ray due to the blue spines, but that didn’t happen with this release. Was this decision made by the licensor, or was it to keep costs down for customers as you mentioned?

OSAKO: For the SDCC Exclusive, this version of Godzilla represents the moment when it's charging up before unleashing its heat ray. The mouth becomes bluer and more illuminated when it actually fires the heat ray. This differentiation helps set it apart from a Heat Ray Version of the character. So, in this case, it’s a scene-specific representation of Godzilla preparing to unleash its heat ray.

TAS: I see. This isn’t the first time in the line where figures are based on scene specifics, such as paint application or effect parts. Perhaps we’ll see a future release with a heat ray, or maybe we can look forward to accessory sets with effect parts?

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OSAKO: We’ve done this in the past with the Toho Ultimate Weapons and Godzilla Effects Set, and I definitely want more of that. I’m pushing for additional sets like these, so hopefully, they’ll make a return. As a fan of these figures and characters myself, I want more of those kinds of things too. I see what the fans want and offering options between base figures and add-ons would also be beneficial for managing price points as well.

TAS: Very true. When a figure is solicited for the first time on social media, you can almost count on a comment asking “Where's the beam effect parts?”.

OSAKO:  I know, I know, I know, I see it too! Let’s wait and see what happens next.

TAS: Well, with that, let’s wrap things up. Is there anything you’d like to share with fans about what they can look forward to with Godzilla and the S.H.MonsterArts line?

OSAKO: I hope all fans take the opportunity to share their feedback in the survey we’re conducting at the Godzilla booth. Even if you can’t attend in person, you can still participate from home until it closes. I’m going to take it very much to heart and really assess it. I hope that I can fight for the fans and get something really creative that they are going to enjoy. I understand that some of our surveys haven’t been accessible to everyone due to geographic limitations, but I’m excited that more fans will be able to share their thoughts this time. As a fan myself, I want to thank you for your continued support, and I hope you look forward to more Godzilla releases in the S.H.MonsterArts line!

TAS: Thank you so much for taking your time to interview with me. I really appreciate it.

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