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--Please tell us about Uta, who is wearing the costume from the movie's song "I'm the Strongest."
Kaneko: The song "I am the Strongest" in the movie is one of Uta's identities. I wanted to create a lively "strongest and best Uta", so I chose this costume. Initially, the copyright holder suggested Uta in armor, but I was scared at the time and said "You've got to be kidding me" and refused (laughs). It's a big deal. However, when I actually decided to make Uta three-dimensional, Megahouse was a later starter than other products, and since I was going to do it as a POP, I aimed for something overwhelming that no one else could do. Well, I think I was right to refuse at first, but in the end, I think I was right to decide on "the strongest Uta" (laughs).
▲ From "ONE PIECE FILM RED", the daughter of the "Four Emperors" Red-Haired Shanks and the world's songstress Uta is turned into a figure clad in golden armor. With a large volume of approximately 29 cm in height and 37 cm in width, it has an overwhelming presence.
-How did you decide to commercialize Uta?
Kaneko: I actually watched the movie... That's right. Especially after the second time, when I watched it again and got to know Uta's character better, I was really moved by all of her actions, and I started to think, "I want to leave behind proof of Uta's life in the best possible form."
--The gold armor is very impressive.
Kaneko: It's a truly "golden" armor, but I also wanted to express the difference between the armor and Uta herself. Both the armor and the weapon are gold, but to avoid monotony, I changed the texture of each part, such as the luster and shine. I adjusted it so that the same gold can look different, such as gold, champagne gold, and copper gold with a reddish hue.
▲The crown, weapons, and armor are not all solid gold, but rather have different textures created by using different glosses and colors for each part.
Another thing is the cape that Uta wears. The cape is just as voluminous as the armor, and has a lot of detail. However, while I wanted it to look powerful, I was also conscious of not losing out to the image of the lightness of the flight. To create the impression of "lightness," I used a clear material and painted it so that the tip becomes more transparent.
▲The feathered cape is made of clear material with a gradation coloring to create a light feel. The area under the vernier is painted with a shadow, and the tip is painted light and thin, expressing the movement and texture in detail.
How many colors do you actually use?
Kaneko: It's hard to say how many colors there are. But even the simplest item in the series have about 1,000 steps in painting and assembly. Uta has gone through even more steps than that.
--What about in terms of design?
Kaneko: After all, it's important to have a cute face. That's what determines about 80% or 90% of the evaluation (laughs). Uta is aimed to be cute and "cool". She's everyone's idol, so we were careful to make her well-liked by both men and women. I have the impression that Toei Animation, the copyright holder, took this point into particular consideration when supervising the production.
▲The face is the most important part of the figure! It's not only cute and cool, but it also conveys the strong will seen in the movie.
--So you cherish the image of a diva who is loved by everyone...
Kaneko: That being said, I also thought about making sure that the figure looked good as a girl figure. So the leotard-like parts are a highlight. It's not the "absolute territory" between the skirt and the knee-socks, but I really struggled with how this area looked. I think that both girl and male figures need to have "sexiness" in the first place. And I don't mean in a naughty sense, but sexiness = attractiveness. I think sexiness amplifies the charm of the character. With Uta, coolness, cuteness, and sexiness should all coexist. Of course, if that balance is lost, it will look strange, but this time, I was able to express it without breaking the balance.
▲The "absolute territory" between the armor and the leotard. The appeal of this female figure is also incorporated.
--Speaking of POP, many different sculptors work on it.
Kaneko: This time we asked Yubon. He's still young, and his first POP item was Oden, and more recently he's been in charge of creating the prototypes for Yamato, Sabo, and Enel. He doesn't have much experience with POP, but he responds with a sensibility that I don't have, and I wanted to incorporate the sensibilities of a new era, so I hired Yubon. The paintwork was done by t2y, who also worked with Yubon on Yamato and Enel. His sensibility is a little different from that of the veterans, and he is expanding the possibilities of POP MAXIMUM.
--Please tell us about some of the highlights of the design.
Kaneko: Actually, there was no detailed information about the booster on the back in the setting. However, in the movie, when the character jumps up for just a moment, you can see a glimpse of the back. I watched that scene over and over again, and checked it very carefully in the movie.
▲The inside of the vernier, which only appeared for a moment in the movie, has been faithfully recreated. One of the highlights is the detailed depiction, such as part of the cloak being scorched by the jet of water.
--Please tell us about the posing.
Kaneko: Uta's pose this time is based on a rough sketch by the author, Eiichiro Oda, but the shield that is attached firmly to her arm in the design is deliberately held in her hand. This is a part that you can't see unless you look at the inside. When attached to the arm, the logo design on the shield becomes hard to see in a three-dimensional form, and it was quite difficult to pose. However, when I met with Oda, I asked if it would be okay to hold it in her hand, and he agreed, so this is how it was held in the POP. In fact, by changing the way the shield is held, Uta's pose has more movement and the logo design is now clearly visible. I think this is a Uta that is truly unique to POP.
▲The shield is originally designed to be fixed to the forehand, but it has been changed to be held in the hand. The strap that secures it is also a well-made part. Even the parts that are not visible at first glance are reproduced with great attention to detail.
--The shield logo design has also been faithfully recreated with great detail.
Kaneko: I don't want to use pad printing or decals because they look flat and cheap. I think what everyone expects from POP is that we don't cut corners, so we have to meet those expectations. Also, if we can't meet the expectations of the creator, Oda-sensei, there's no point in doing POP. If Oda-sensei were to say "this isn't good," I think that would be the end of POP. I'm doing my best not to disappoint the fans or Oda-sensei.
▲The reproduction of the shield logo design is one of the special features. It has three-dimensional details.
--As a planning and development manager, are there any “recommended points” that you would like to highlight?
Kaneko: It's really hard to make large item stand on their own. This time, the sculptor came up with an idea: by using a rainbow-like musical staff to hold the items together, you can display them as if they're floating in the air, even though they're so large. I hope you'll take a look at this floating sensation.
▲The musical staff creates a floating display. The musical staff uses musical note parts to recreate the imagery seen in the movie.
--It looks more like an effect than a pedestal.
Kaneko: It is based on the image of the musical staves that Uta shoots out of her hands in the live scene of "I am the Strongest" in the movie. The voluminous stand is comparable to the figure itself, and has musical notes on it, but it is not too prominent. When you see the figure, Uta is the first thing you see, and when you look at the whole figure, you notice the display. I think it is important that the stand does not get in the way of the figure.
--It's really big, but how stable is it?
Kaneko: In fact, the base and the staff are firmly fixed. From an appearance perspective, the main body is held in place without being seen. I think that making sure that it doesn't look like "an additional support..." is where the skill of the developers shines. I would be happy if you look at this and think, "That must have been a bit of a struggle." However, the final product may have a transparent support (laughs). It's fine for normal display, but there are also POP fans who display it for long periods of time, measured in years. We are truly grateful for that, so we will consider that as well. Of course, there is enough holding power to display it for a little while and then store it away.
▲The musical staff secures the inside of the cape and the feet, etc. It gives a floating feeling, but also a sense of stability.
--You also have a strong commitment to even the parts that cannot be seen.
Kaneko: I love "ONE PIECE" myself, so I don't want to disappoint the people who buy it. I want them to be happy.
--Uta is also a fascinating character.
Kaneko: Uta is the most popular singer in the world, isn't she? People of all ages, genders, and nationalities alike are moved by her songs, and everyone says, "I came to listen to Uta's songs." That feeling is truly the ideal of the ideal, but it's difficult to make it happen. But I wanted to make a figure that would bring us a little closer to that. So if it was something like, "Only male fans should look at this," that wouldn't be Uta. I really want "ONE PIECE "RE-MAXIMUM" Uta ~I'm the Strongest~" to be "a Uta that everyone loves." Of course, I'm sure there are fans who think, "This Uta is different!", but that's the next challenge. If I hear that, I'll think of it as homework to "make a more beloved Uta," and do my best.
--The other day, it was unveiled at the figure event "MegaHobby EXPO 2023 It's SHOW TIME!!" What was the reaction of fans?
Kaneko: We've finally let everyone see the painted version. We've kept everyone waiting for over half a year since we announced the figurine at the end of last year, but it seems like people were able to get a sense of the volume, which can't be conveyed in an image, and some people thought it was bigger than they expected. I don't know if there were people who thought it was small, though (laughs). There were people who were really looking forward to it, and the response was pretty good.
▲The painted sample of Uta was exhibited for the first time at the event "MegaHobby EXPO 2023 It's SHOW TIME!!" held in August. It became a big topic.
--Now, orders are finally being accepted.
Kaneko: I think this product will meet the expectations of all the fans who have been waiting for this product. Of course, you don't want a figure unless it's emotional, and Uta is a very emotional character. In the play, when you understand Uta's thoughts and goals, every action makes you cry. This "Strongest" expresses Uta's lively, brave, and brilliant figure in the coolest way possible. If this feeling is conveyed, I'm sure everyone will find it "emotional."
Hiroki Kaneko
■PROFILE
Kaneko is a Product Operations Producer and Senior Executive Producer at Megahouse. He has been in charge of planning and development of the POP (Portrait. Of. Pirates) series since its inception in 2004. POP will celebrate its 20th anniversary next year, and currently boasts a lineup of over 300 items, most of which are created by Kaneko.
The image is for illustrative purposes only.
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Please note that products that have been on the market for some time may no longer be produced or sold.
(C) Eiichiro Oda/2022 "ONE PIECE" Production Committee
