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-First, please tell us about "METAL BUILD DRAGON SCALE".
Konishi: This is a spin-off brand of METAL BUILD. METAL BUILD is a top-of-the-line die-cast finished figure that arranges robot characters in a three-dimensional way while paying close attention to the texture of the metal, paint, and ver. A.N.I.M.E., but DRAGON SCALE focuses on more toy-like ver. A.N.I.M.E.. For example, in animation, the characters go beyond the boundaries of mecha design and perform extravagant actions. In order to reproduce these action poses as three-dimensional objects, we have further refined the mechanisms and internal structure. Another feature is the persuasive arrangement and design, such as the exterior for movement.
--Please tell us about the arrangement.
KonishiThe Knightmare Frames, the mecha in the Code Geass series, are set up as an extension of real robots, but Lancelot Albion surpasses conventional Knightmares in the story and acts as a sort of super robot.
Furthermore, the devicer (pilot) Suzaku Kururugi is a character with superhuman fighting power, and his beloved Lancelot series dominates the battlefield with dynamic combat that is just like a human being. We focused on incorporating gimmicks that would allow for as natural a movement expression as possible, recreating movements that are just like an extension of the human body. The arrangement was done by working backwards from the movement ver. A.N.I.M.E. ver. A.N.I.M.E. for action poses. The Lancelot Albion gives a strong impression of being a projection of Suzaku himself, so we wanted to recreate his martial arts. The concept was to arrange it as a three-dimensional object that could reproduce the movement of the human body in a natural form.
-Are there any poses you would recommend?
Konishi: It's a flashy kicking technique and take-off pose that is so typical of Lancelot. I don't think there has ever been a three-dimensional object that can reproduce Lancelot's kicking pose with such natural movement. By combining the movable exterior and internal structure, we have been able to reproduce the soft movements of a human body without straying from the machine's form. In addition to the linked movement of the thigh joints and inner thighs, we have adopted a rising movement for the outer thigh armor to ensure a range of motion for the entire leg.
▲ When you spread your legs, the armor on the outer thighs opens up.
▲By incorporating an interlocking structure around the knees, natural movement at a human level is reproduced.
▲Lancelot Albion's kicking pose is one that is memorable even in the movie. Previously, the 3D figures had relatively straight lines, but in DRAGON SCALE, it has soft curves like the human body.
--Can you tell me more about the internal structure?
Konishi: The ankle combines two die-cast frames, improving the range of motion, including forward and backward movement. The skater-like pose with the center of gravity on the Land Spinner, typical of the Nightmare Frame, is very beautiful, including the ease of placement. Therefore, Lancelot's take-off pose, which is difficult to express with an action figure, can be reproduced very naturally. When bending the knees, the convergence mechanism on the back of the knees allows you to pose him kneeling or standing on his toes with a form that does not collapse from any angle.
▲ Ankle joints with roller action typical of KMF
▲ A take-off pose unique to the Lancelot series. The ankles have a wide range of motion, and together with the rollers, it has high ground contact. In particular, the positioning of the face and cockpit recreates the image of the scene in the movie through the internal ver. A.N.I.M.E..
--What about the mechanisms other than the legs?
Konishi: The upper body and the cockpit. When trying to recreate this takeoff pose as it appears in the animation, the cockpit and head would interfere with each other in previous 3D models. In DRAGON SCALE to avoid this interference, a crank is installed inside the back, allowing the cockpit block to lower. When the cockpit is lowered, the armor around the neck naturally rises, preventing interference and allowing the takeoff pose to be recreated with the face facing forward in a beautiful posture. And this also needs to be achieved with the air pose with the energy wings deployed. In the animation, the cockpit is always positioned above the head. In order to achieve both poses, in the air pose, if the cockpit is raised, the head will lower, and in the takeoff pose, if the cockpit is lowered, the head will rise.
▲Lancelot Albion's air pose. When the cockpit position rises, the neck position drops.
--It seems like there's a lot of freedom in posing.
Konishi: The planning team was responsible for testing the trial products that had arrived from the factory to see if they could be played according to the specifications, but there were so many different actions to enjoy that I got so engrossed I ended up playing for about half a day.
Of course, the Energy Wing has also been designed with a mechanism that allows it to recreate a variety of silhouettes, so I think it's a product that can be enjoyed by simply changing out the silhouettes.
--Please tell us about the original mechanism.
Konishi: The base of the sheaths for the MVS (Maser Vibration Sword) on both sides of the cockpit feature movable arms made of die-cast frames. This allows for unsheathing poses that were previously impossible with 3D models, as well as knight-like poses that are unique to DRAGON SCALE.
▲The MVS arm is made of robust die-cast
As for the Super Valis, in the movie, he deploys while holding it in his hand, so it's unclear how it's equipped when not in use. This time, we designed an original part that can be suspended from the back of the waist. This is also an arm, and it can be deployed forward while attached. Since it is the unit that boasts the highest performance in Britannia in the Lancelot Albion TV series, it must have been developed with a variety of operating methods in mind, so we added ver. A.N.I.M.E. in that area that will allow users to "think" about the work.
▲The MVS can be equipped on the back of the waist. It also has an original ver. A.N.I.M.E. that allows it to be attached to the side of the waist.
-What do you think about the Energy Wing?
Konishi: When deployed forward like in the shield state in the movie, the base of the MVS sheath slides forward along with the base of the wing frame to prevent interference. Also, with the cooperation of Bandai Namco Filmworks, we have newly added a "float mode" that is specialized for flight only to reduce energy consumption to the energy wing, which has both offensive and defensive capabilities and flight capabilities. This is exactly the same scale as the float unit of the previous generation KMF.
--You can choose between large and small when displaying it.
Konishi: The energy wing is the model's biggest feature, so I wanted to make it as detailed as possible without shrinking it. However, in METAL BUILD scale, the wingspan is 650mm, which is very large, so it can be a bit difficult to fully enjoy ver. A.N.I.M.E. of the main body. In that case, I thought that by attaching this effect, the range of playability of the customer can be increased.
▲ Equipped with a small energy wing. You can also enjoy poses that evoke urban warfare, which does not appear in the movie.
--Are there any changes to the coloring?
Konishi: In order to bring out the charm of Lancelot Albion even more, we have added some paint and material expression unique to METAL BUILD. For example, we have increased the proportion of gold by incorporating gold plating on the die-cast parts such as the wing frame, ankles, groin, and wrists of the main body.
--It must have been difficult to come up with the color scheme?
Konishi: As the amount of detail and panel lines has increased, there are of course an infinite number of color scheme arrangements. The planning team comes up with an initial color scheme proposal while designing the main body, and the painter uses this as a starting point to make significant improvements. The finish, which uses a variety of gold colors, could come off as being harsh if the balance is not right, but the moment the demo arrived, I was entranced by its beauty. Of course, this is a product that you will want to move and enjoy ver. A.N.I.M.E., but I think it will be very satisfying to just look at.
-- Platinum is supposed to be difficult to balance.
Konishi: Yes. For the Lancelot Albion, the way and purpose of expressing the white and gold greatly affect the overall impression, so we paid particular attention to that. The white uses three different colors and textures to maximize the amount of information that can be expressed because of this size. The pearl color changes the impression depending on the shadow and how the light hits it, expressing the "righteous knight" side of Lancelot Albion and Suzaku, and the "out-of-control justice" side to realize Zero Requiem. We aimed to express that duality as a three-dimensional object. The gold is also color-coded to give each part a convincing interpretation, with the painted parts being dark gold for the frame, dark gold for the armor, and light gold for the engraving. In addition, the die-cast parts are also colored in two different approaches: gunmetal, which creates a realism as a weapon, and gold for decoration, which shows off the "power" of the Knight of Zero's machine. Furthermore, in order to allow you to enjoy the DRAGON SCALE concept of mobility and ver. A.N.I.M.E. even more, we have changed the texture and color of the internal frame and exterior that become visible when moved. The painter was very particular about the "color expression that adds excitement and discovery when you pick it up and move it." In addition, the optional parts also incorporate the expression that can only be achieved with the highest quality finished products. For example, Super Valis. The color scheme has been arranged from the original color scheme to match the overall image this time. We have tried to achieve both the color scheme of "armament for carrying out justice" and the impression of "too powerful a weapon" that inspires fear. The color coordination and movable ver. A.N.I.M.E. are fused at the highest level to further enhance each other's expression. I think that is also the charm unique to METAL BUILD DRAGON SCALE.
▲Color scheme consideration materials for Lancelot Albion. The parts shown in purple are for die-casting. The extreme colors are used to check the color balance. When compared to the final product image, it is clear that significant changes were made during the painting process.
--The design arrangement was done by Mr. Shintani of Astrays, who is in charge of many 3D objects including METAL BUILD.
Konishi: First, Shintani-san provided us with front and back standing images and diagrams of ver. A.N.I.M.E. he wanted to use. Using that as a base, we first made the exterior three-dimensional, then added simple movement, and developed the mechanism while receiving feedback from there. He provided us with designs that reflected the structural proposals, such as the wing deployment mechanism and knee movement, and from there we incorporated ver. A.N.I.M.E. that hadn't been used initially into the design. DRAGON SCALE was developed with the goal of adding new value through ver. A.N.I.M.E., so we were very grateful for the ideas of Shintani-san, who has worked on many Nightmare Frame designs and has released many toys into the world.
▲ Shintani's initial design. From here on, more ver. A.N.I.M.E. and details were added.
--It seems like there was a lot of discussion about the details.
Konishi: Every time we print a part, we have to do something like "There's not enough detail here..." Originally, the overall design was created from ver. A.N.I.M.E. side, and reflecting the details was the final step. We asked them to add details as we wanted, while considering how they would look with painting. We had a hard time with the structure, but we also spent a long time adjusting the details so that each part would not look stretched out. We also had Mr. Taniguchi of Bandai Namco Filmworks supervise us to adjust the balance of the arrangement so as not to stray from the core of the character.
▲ Shintani's proposed mechanism design for the sheath for the MVS. This was introduced as an arranged design, with the reproduction of the unsheathing pose and a place for the sheath to be placed without interference in mind.
--Please tell us again about the appeal of this DRAGON SCALE.
Konishi: As expected, the number of parts, the details of the modeling, and the coloring are all things that only a top brand like METAL BUILD can do. I would like people to see the expression that only a high-end brand can do, such as using gold and gunmetal for the plated parts, and using different colors for the luxurious design parts that are typical of Lancelot, and the mechanical design parts.
--Was there any part of the development that you found particularly difficult?
Konishi: Even with the mechanism for bending the knees, it was quite difficult to determine how to make it natural from a simple axis while still allowing users to enjoy the movement and be surprised by the ver. A.N.I.M.E.. There were poses I wanted to make him take, and I struggled with how to balance the proportions and the image that fans had of him, especially with Lancelot Albion, who moves so much in the movie.
▲Even the knee movement has been carefully designed.
--The action in the final battle is particularly impressive.
Konishi: It's the battle against Guren Seiten Hakkyokushiki. At the end of the battle, a ground battle befitting a Knightmare Frame takes place in the Heavenly Fortress Damocles, and it's a hand-to-hand fight in which Suzaku and Karen, who is riding Guren, jump over the robots and collide directly into each other. I thought about how to express the image of this spectacular scene in 3D and how to recreate the poses from the movie.
--Guren Seiten Hakkyokushiki has already been released on DRAGON SCALE.
Konishi: I would love to see it displayed alongside the Lancelot Albion. I have always loved Code Geass and have been involved in the products, so I would like users to feel the same way about how meaningful it is to have the two robots side by side. Guren's design keyword, "Great Dark General," as mentioned by Director Goro Taniguchi, is used as the direction of the arrangement, emphasizing its sinister quality. In contrast, the Lancelot Albion has a knightly, orthodox heroic armor design that evokes the Knights of yen, the Knights of Britannia. While the two robots are polar opposites in terms of design, they fit seamlessly side by side in the worldview of the series, and I believe that people will be able to accept them, even with their different concepts.
--Lancelot Albion has been made into a 3D figure in ROBOT SPIRITS and METAL ROBOT SPIRITS up until now, but were there any intentional differences?
Konishi: I was in charge of development of Lancelot Albion from METAL ROBOT SPIRITS, which was released in 2018. I think that I was able to thoroughly pursue the form of Lancelot in the play, thanks to the supervision of Eiji Nakata, who was the mechanical designer and mechanical animation director. At the time, it was the first attempt at a painted finished product with die-cast specifications in the "Code Geass series", so I think I put the best in my mind. However, five years have already passed. While there are limitations to making the design in the play three-dimensional as it is, as technology, including painting, evolves, how can we arrange it with an expression unique to DRAGON SCALE? This time, I was conscious of how to reproduce the action expression unique to animation while giving it a persuasive mechanical power. METAL ROBOT SPIRITS is also being sent out to the world with confidence, but I think that this METAL BUILD DRAGON SCALE will be a leap forward in expression, and you will be able to feel the fun of playing with ver. A.N.I.M.E..
▲METAL ROBOT SPIRITS (left) and DRAGON SCALE 's (right) Lancelot Albion, which placed emphasis on recreating the setting from the show. The difference in approach, including size, is apparent in the three-dimensional form.
--If in a sense the METAL ROBOT SPIRITS version was the pinnacle of reproduction of the scenes in the movie, could we say that this version is the pinnacle of toy-like expression that reflects the current evolution of technology?
Konishi: That's right. We've delved deeper into the official settings and the impressions from the show, and incorporated arrangements to bring out new appeal. I think we can deliver to users the ultimate three-dimensional Lancelot Albion.
▲The complete Lancelot Albion set. Includes energy wings, weapons, and a display base.
- What do you think about the upcoming lineup of the Code Geass series at DRAGON SCALE?
Konishi: Of course, I joined the company because I love Code Geass, so I've been thinking about it carefully. However, the votes for the Nightmare Frames are pretty split in the surveys. I would really appreciate it if you could answer the survey when you receive your product! Right now, there are some mechas that are very close, so I'd like to listen to the voices of our users and try to develop products that will excite them.
Ryo Konishi
■PROFILE
He is a member of the Collectors Division of BANDAI SPIRITS. He has worked on many robot figures such as Gundam, Evangelion, and Dunbine for METAL ROBOT SPIRITS and METAL BUILD. Konishi was also in charge of the CHOGOKIN Liger Zero, which won the Toy Award 2023 High Target Toy Division.
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(C)SUNRISE／PROJECT L-GEASS Character Design (C)2006-2017 CLAMP・ST
